In this paper, I examine the extent to which the theoretical procedures for interpreting works of visual art, which Gotthold Ephraim Lessing describes in his famous book Laocoon: An Essay Upon the Limits of Painting and Poetry, are comparable to various methods of interpretation from the tradition of hermeneutics. To achieve this, I analyse how Robert S. Leventhal and Frederick Burwick approached Lessing’s interpretation techniques and try to expand their views and apply them to Lessing’s thoughts in Laocoon. I will (...) focus on the idea that Lessing’s procedures for interpreting works of visual art depend, to a certain extend, on his methods for analysing literature. Even though these authors did not link Lessing’s thoughts to the hermeneutical theory of Friedrich Schleiermacher, I will also explore whether there are certain similarities in their views on the main constituents of the process of interpretation. (shrink)

In this paper, I examine the views of contemporary aesthetician of music Stephen Davies about musical transcriptions as special forms of classical music and try to apply his theoretical views to remixing as a musical practice that is primarily related to contemporary electronic music. Using the theoretical approaches of Davies’ aesthetics of music, I point out the similarities between the creative attitudes of a musician in transcribing and remixing, similarities that can be found in the way these musical forms relate (...) to the original composition on which transcriptions or remixes are based. Comparisons between transcription and remix are further investigated by considering the various roles that these musical practices fulfil in various cultural contexts. (shrink)