Conceived by Wagner as a way to recover the synthesis of arts at the core of Greek tragedy, the Gesamtkunstwerk played a significant role in post-Romantic and avant-garde aesthetics. It was designed to regenerate and defend the public function of art against mass culture and technology, yet at the same time depended on them in an ambivalent relationship manifested by its various realizations. The book reconceives the "total work of art" as a variation of intermediality, a practice that subverts any essentialist vision of artistic languages through complex interplay and blending of perceptions, amplified by new media and the syncretic nature of the cyberspace. The Gesamtkunstwerk can no longer be considered a Hegelian synthesis of arts or a Romantic and Wagnerian fusion of languages: it involves a synergy of different arts and media and captures the digital age's principle of open textuality without any hierarchy and any organicist connotations. This book reveals the vitality of modern and contemporary Gesamtkunstwerk by mapping its presence in various arts and media.

Massimo Fusillo is Professor of Literary Criticism and Comparative Literature at the University of L'Aquila; he is also a member of the Academia Europaea. He is the author of The Fetish: Literature, Cinema, Visual Art and the coeditor of Imaginary Films in Literature.

Marina Grishakova is Professor in Comparative Literature at the University of Tartu, Estonia, and a member of the Academia Europaea. She is the author of The Models of Space, Time and Vision in V. Nabokov's Fiction and the coeditor of Intermediality and Storytelling and Narrative Complexity: Cognition, Embodiment, Evolution.