Musicalization of Fiction: : : A Study in the Theory and History of Intermediality / / Werner Wolf.

• Superior document: Internationale Forschungen Zur Allgemeinen und Vergleichenden Literaturwissenschaft Series ; v.35
• VerfasserIn: Wolf, Werner,
• Place / Publishing House: Leiden : : Brill Academic Publishers,, 2023.
• Year of Publication: 2023
• Edition: 1st ed.
• Language: English
• Series: Internationale Forschungen Zur Allgemeinen und Vergleichenden Literaturwissenschaft Series
• Physical Description: 1 online resource (xi, 272 pages) :; illustrations, music

This volume is a pioneering study in the theory and history of the imitation of music in fiction and constitutes an important contribution to current intermediality research. Starting with a comparison of basic similarities and differences between literature and music, the study goes on to provide...

Table of Contents

• Intro
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• Acknowledgements
• 1. Introduction
• PART I: THEORY THE COMPARABILITY OF MUSIC AND LITERATURE
• INTERMEDIALITY AND THE SPECIAL CASE OF THE MUSICALIZATION OF LITERATURE/FICTION
• 2. Music and (narrative) literature: principal similarities and differences
• 2.1. The comparability of music and literature
• 2.2. Musical and literary signifiers: similarities and differences
• 2.3. Musical and literary signifieds and the problem of meaning: similarities and differences
• 2.4. Consequences for a theory of the musicalization of (narrative) literature
• 3. 'Intermediality': definition, typology, related terms
• 3.1. 'Medium', 'intermedia(l)', and 'intermediality'
• 3.2. 'Overt' or direct vs. 'covert' or indirect intermediality and other typological differentiations
• 3.3. Explicit 'telling' or thematization and implicit 'showing' or imitation as basic types of covert intermediality
• 3.4. Intermediality and intertextuality as 'intersemiotic' forms
• 3.5. Intermediality and meta-aesthetic/metamedial self-reflexivity
• 4. Musico-literary intermediality and the musicalization of literature/fiction: definition and typology
• 4.1. Musicalization of fiction: definition
• 4.2. Forms of musico-literary intermediality and the place of musicalized literature/fiction as deducible from a general typology of intermediality
• 4.3. Forms of explicit thematization of music in literature/fiction: textual, paratextual and contextual
• general and specific thematization
• 4.4. Forms of implicit imitation of music in literature/fiction: 'word music', structural and imaginary content analogies to music, general and specific imitation and the problem of 'verbal music'
• 4.5. Forms of evocation of vocal music through associative quotation.
• 5. How to recognize a musicalized fiction when reading one
• 5.1. Types of evidence and criteria for identifying musicalized fiction
• 5.2. Sterne's Tristram Shandy - a 'musical novel'?
• PART II: HISTORY THE MUSICALIZATION OF FICTION IN ENGLISH LITERATURE: AESTHETIC PREHISTORY AND INTERMEDIAL EXPERIMENTS FROM ROMANTICISM TO POSTMODERNISM
• 6. The prehistory of the musicalization of fiction: the rise of music in aesthetic evaluation from the eighteenth century to romanticism - stages and factors
• 6.1. From the "verbal domination of music" to the "emancipation of music from language [and literature]"
• 6.2. The rise of music in aesthetic evaluation since the eighteenth century and its main causes
• 7. Romantic musicalization of fiction: De Quincey, "Dream Fugue"
• 7.1. The dream and its thematic implications
• 7.2. Evidence of musicalization
• 7.3. Structural analogies to a fugue and the a-mimetic departure from traditional storytelling
• 7.4. Functions of the attempted musicalization of fiction
• 7.5. "Dream Fugue" in the context of nineteenth-century experiments with the musicalization of literature
• 8. Modernist musicalization of fiction I: the "Sirens" episode in Joyce's Ulysses
• 8.1. Modernism as the first climax in the history of attempts at a musicalization of fiction
• 8.2. "Sirens": evidence of musicalization on the level of thematization
• 8.3. Imitation of music I: the "Sirens" episode as 'prelude and fugue'?
• 8.4. Imitation of music II: analogies to musical microstructures and word music in "Sirens"
• 8.5. Functions of the attempted musicalization of the "Sirens" episode
• 9. Modernist musicalization of fiction II: Woolf, "The String Quartet"
• 9.1. Woolf as an intermedial author
• 9.2. Forms of musico-literary intermediality in "The String Quartet"
• 9.3. Functions of the musicalization of "The String Quartet".
• 10. Modernist musicalization of fiction III: Huxley, Point Counter Point
• 10.1. Philip Quarles's intermedial programme of the "musicalization of fiction" and its realization in Huxley's 'contrapuntal' novel
• 10.2. Bach, Beethoven and the functions of the musicalization of Point Counter Point
• 11. Postmodernist musicalization of fiction I: Beckett, "Ping" - an intermedial borderline case
• 11.1. Postmodernism as second climax in the history of attempts at a musicalization of fiction
• 11.2. Beckett and music
• 11.3. "Ping" - a musicalized fiction?
• 11.4. Functional aspects of a possible musicalization of "Ping"
• 12. Postmodernist musicalization of fiction II: Burgess, Napoleon Symphony
• 12.1. Napoleon Symphony: contextual and textual evidence and thematizations of musicalization
• 12.2. "Giv[ing] symphonic shape to verbal narrative" - techniques of imitating music in (the second 'movement' of) Napoleon Symphony
• 12.3. Functions of the musicalization of Napoleon Symphony
• 13. Postmodernist musicalization of fiction III: Josipovici, "Fuga"
• 13.1. Josipovici as a postmodernist, and evidence of musicalization in "Fuga"
• 13.2. The story and its possible reading as a verbal fugue
• 13.3. Functions of the 'fugal' structure of "Fuga"
• 14. Summary
• Bibliography
• Index.