Musicalization of Fiction: : : A Study in the Theory and History of Intermediality / / Werner Wolf.
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...
Saved in:
Superior document: | Internationale Forschungen Zur Allgemeinen und Vergleichenden Literaturwissenschaft Series ; v.35 |
---|---|
VerfasserIn: | |
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 |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
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.