But the question of methodology, I think, is a secondary complication, indirectly determining the state and (un)attractiveness of music-literary research – the basic difficulty causes, however, a less closely defined form of research model and the conditions of its singular identification. In a certain unique way it is necessary to confront various kinds and irreducible phenomena, to prepare one’s own situation of methodological merging, which Steven Paul Scher laconically defines in the title of the article “Theory in Literature, Analysis in Music: What Next?” 5 Interdisciplinary progress is undoubtedly paralysed by the awareness of the lack of universal research tools and the many dangers this brings, including the inability to directly transfer concepts or the minimal scope of simultaneously applying identical terminology in literary research and music research. Naturally, the specifics of the solutions on the border of two disciplines largely determine the restraint in the study of the musical entanglements of a literary work. Secondly, at the time of equal treatment or democratisation of various methodologies of literary research, the “paradigmatic ←11 | 12→‘interregnum’” 4, in principle, all kinds of research activities are supported by a similar circumstance of non-procedural, one-off actions. At the same time, some literary experiments, especially in the literature of the twentieth and twenty first centuries, on account of their form have become overly provocative, so that without any interpretative consequences we could avoid and not take into consideration the problem of their intersemiotic (intermedial) roots. However, the diagnosis that would eliminate the issue, outlined for lack of a clearly defined research object and at the same time a suitable methodology, would prove to be not completely justified or even far wrong.įirst of all, this is the reason, that “intersemiotic translation” 1 and “intermedial transposition” 2, the artistic efforts of transposing a musical composition into a literary work, constitute a separate tradition in the history of general literature 3 (they function like a kind of topos). The reason for this state of affairs is to be found mainly in methodological fears, conditioned by competences and the choice of narrow specialisation, and in – eliminating the problem – research skepticism with regard to adequate literary means of presenting music, more precisely: literary assimilation of musical conventions, techniques, construction schemes. Contemporary literary and theoretical-literary studies – focused around issues that remain either in the common or peripheral circles of interest – relatively rarely signal the filiations of a musical phenomenon to a literary work. This problem is extremely complex and quite unusual among historically sanctioned cases of music-literary relations, while it remains one of the most marginal in literature and undoubtedly the least developed to date. The possibility to represent music in literature is very limited – representation as an intersemiotic form of mimesis. Towards the Theatre of the Absurd: “The words disappear…”ħ Literature beyond literature: Hérodiade – “Hérodiade” de Stéphane Mallarmé] by Paul Hindemith] ![]() Rostworowski’s musical experiences – Judas ![]() Semantic shift (context of Müller’s text)Ĭonsequences of listening and reading – musical literary textĦ Score – Judasz z Kariothu by Karol Hubert Rostworowski] Musical matrix (context of Schubert’s] text) Podróż zimowa as a literary text and a virtual vocal text The paradigms of “musicality” (an attempt at a survey)ģ Description of music (between the poetic variant and the interdisciplinary variant)ĭescription of music: between the interdisciplinary and the poetic variantsĤ Literary fugues (Umberto Saba’s] Preludio e Fughe and Paul Celan’s] Todesfuge)ĥ Listen and read: two sources of one interpretation strategy: (Stanisław Barańczak’s] Podróż zimowa ) The characteristics and the concept of musicality Comparative literatureġ Around Tadeusz Szulc’s] Muzyka w dziele literackim Ģ Musicality – musicality of a literary work
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