The Aesthetics of plastic Art in literary discourse

Abstract

The study aims to monitor the semantic relationship between plastic painting and literary discourse in the modern era by adopting the semiotic approach in analysis. The study consisted of a preface and three chapters. The modern preface dealt with the synergy of the arts, the integration of knowledge, and the relationship between plastic art and literature. However, the first chapter, entitled "Semantic interrelationship between textual thresholds and content of literary discourse” was divided into three sections: The first section: The semantic relationship between the textual thresholds, the second: the relationship of the cover with the content of the literary discourse, and the third: the relationship of the title to the content of the literary discourse. The second chapter was marked as "plastic art in poetic discourse" divided into two sections. The first: is the effect of plastic painting on the poetic text. The second: is the effect of the poetic text on plastic painting. Finally, the third chapter, entitled "plastic art in the narrative discourse," is divided into two sections: firstly, the dialectical relationship between plastic painting and fictional art. Secondly: the dialectical relationship between plastic painting and biography. The study came out with a set of results, the most important of which are: The cognitive and psychological fluctuations of the cover are inseparable from the space of the title of the literary discourse and its content. The cover is a natural extension of them, and the manifestation of plastic painting in poetic texts gives us an artistic space that links the words of the poetic text with the plastic painting by revealing the semantic relationship between them. Then, the dialectical relationship between plastic painting and the art of the novel creates a semantic continuity which leads to the interaction of the visual space with the centrality of the narrative body; adding semantic dimensions that the text acquires in its interaction with the space of the plastic painting, or vice versa.