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Full-Text Articles in Arts and Humanities
Philology And Music In The Work Of Pascal Quignard, John Hamilton
Philology And Music In The Work Of Pascal Quignard, John Hamilton
Studies in 20th & 21st Century Literature
The persistent association of philology and music in the work of Pascal Quignard is mediated through various modalities of silence. Throughout Quignard’s novels, essays and treatises, musical sensibility and philological obsession work to silence the all-too-loud, abstracting processes of communication, representation, narration, or discourse. Upon sketching out the general terms and definitions that Quignard employs across his writing career, the essay turns to two especially illustrative examples: Quignard’s reading of Lucretius and his reflections on Plato’s discussion of misology. Misology, denoting a deep mistrust of words, ends up serving as a synonym for philology itself; it is a hatred of …
Patrick Chamoiseau Et Le Gwo-Ka Du Chanté-Parlé , Pim Higginson
Patrick Chamoiseau Et Le Gwo-Ka Du Chanté-Parlé , Pim Higginson
Studies in 20th & 21st Century Literature
Numerous critics have explored the use of orality in Patrick Chamoiseau's work. Solibo Magnificent adds to the opposition between the oral and the written the third term of the musical. Western artistic expression maintains a neat border between the media (e.g. literature, music, the plastic arts) because it helps legitimate the essentialization of (racial, ethnic, sexual) alterity: white maleness writes; the musical is instead associated with otherness (and orality). This hinged or articulated connection between alterity and the musical (and sameness and the literary) assures and assumes that the musical does not signify. This essay contends that Chamoiseau's novel responds …
Cocteau Au Cirque: The Poetics Of Parade And "Le Numéro Barbette" , Jennifer Forrest
Cocteau Au Cirque: The Poetics Of Parade And "Le Numéro Barbette" , Jennifer Forrest
Studies in 20th & 21st Century Literature
Parade (1917) was a joint effort production with libretto by Jean Cocteau music by Erik Satie, decor, costumes, and curtain by Pablo Picasso, and choreography by Léonide Massine. It was not only Cocteau's first truly original work, but, as Pierre Gobin contends, Parade is central to an understanding of the structures that would inform all of his subsequent work. Equally central, proposes Lydia Crowson, is Cocteau's July 1926 Nouvelle Revue Française article on "Le Numéro Barbette." The essay on the transvestite striptease trapezist Barbette offers a poetics of the theater that will have changed little by the time of his …
The Dialogical Traveler: A Reading Of Semprun's Le Grand Voyage, Sally M. Silk
The Dialogical Traveler: A Reading Of Semprun's Le Grand Voyage, Sally M. Silk
Studies in 20th & 21st Century Literature
In light of discourse theory influenced by Bakhtin's concept of dialogism, the notion of voice has changed significantly so that we are invited to read discourse in a way that represents a departure from Bakhtin. The theories of François Flahault, Michel Pêchetut, and John Frow, who inquire into the importance of conditions of production of language, are used to explore the vain search for a subject-centered voice in Jorge Semprun's Le Grand voyage. The narrating subject Gerard experiences "homelessness" in discourse because he fails to find a voice of his own. His relationship to music and literature depends on …
A Musical Note, Steven Ungar
A Musical Note, Steven Ungar
Studies in 20th & 21st Century Literature
Frequent references to musical terms in Barthes's writings since 1970 suggest a progression beyond a standard semiological inquiry. A text on the «grain» of the voice, another on música practica, and a third on Romantic song develop a model of figuration Barthes explores actively in the Fragments d'un discours amoureux (A Lover's Discourse) and La Chambre claire.