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Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study is to compare two novels by Christian Gailly, a French jazz saxophonist, psychoanalyst and writer, died in 2013. The universes of the novels K.622 and Dring, are similar in terms of the action and the characteristics of their protagonists, both in their fifties, and depressed; music lovers and obsessed with concrete musical works. This study shows that the mainspring of the narrative, the center of the fictional universe and the major interest of the characters is music. Perceived as an ordering principle of the universe, Mozart's and Bach's music is not only omnipresent in the novels, but above all is a life-saving power. [ABSTRACT FROM AUTHOR]

It is well known that Marie-Catherine d'Aulnoy's historical novel, Histoire d'Hypolite, comte de Duglas contains the first literary fairy tale in the French tradition and that the dynamic between novel and fairy tale in this work provided French readers with a model of production and reception for the publication of future tales. However, in creating a manifesto for the fairy tale as a new literary genre, Histoire d'Hypolite also provided a model for the ways in which the incorporation of music in fairy tales could advance the socio-political agendas of authors interested in subverting Louis XIV's absolutism while simultaneously avoiding censorship. This essay examines how the model that the novel's main character Hypolite advances for incorporating music into fairy tales was reprised in the fairy tales and frame novels that d'Aulnoy composed over the course of the decade that followed the publication of Histoire d'Hypolite. Although musical interventions in literary texts are more commonly known for distilling the particularities of fictional and dramatic works into aphorism and for transforming the diegetic universe of the text into the universal appeal of a social or emotional lesson, in Hypolite's model, the musical interventions do not refer back to the diegesis of the tale. Rather, they comment directly on the teller's reality, serving as a means of communication with the tale's intended audience and encouraging cooperation from that audience in a collective endeavor to resist patriarchal oppression and the political systems that sustain it. [ABSTRACT FROM AUTHOR]

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To become oneself, one must gain ownership of one's language and authorship of the stories one tells. The partisans of vitalism, and the prophets of a new American literature, both claim that the way to own one's language is to seek out new experiences that have not yet been put into language and put them into a language of one's own. Morris's alternative, set out in his critical writings but most fully exemplified in his 1957 novel Love Among the Cannibals, is to appropriate what has already been written as literature in order to overcome the domination of cliché, what 'everyone' or 'every American' says and therefore thinks and does, over one's language, imagination, and experiences. Wright Morris is urgent for us if we are to escape faddish memes and cannibalise our memories and our reading to nourish our own imaginations, without which we cannot read or write ourselves into a better or more just future. [ABSTRACT FROM AUTHOR]

This article takes its cue from the claim, made both in 1831 and in our own time, that Bellini's La sonnambula is a pastoral opera. Frustratingly difficult to define, the term 'pastoral' is at once both musical and literary, able to attach itself to everything from madrigal to oratorio to symphony across four hundred years. This article explores the various meanings of pastoral specific to the early nineteenth century and argues that its currency in music analysis today – as a topic, as a mode – is of little use when attention falls on the music of Italian opera. It concludes with an extended analysis of Bellini's handling of cadences in both La sonnambula and his other operas, insisting that it is here, in Italian composers' repeated affirmation of the conventions of tonality, that the pleasures promised by the pastoral can be enjoyed today as much as they were two hundred years ago. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the fragment of Balzac’s short story Gambara in which the titular character discusses his opera. The focal point of this article is a character from the opera written by Paolo Gambara – Muhammad. The elements used to build the character (character traits, transformations, biography, relationships with his environment, actions, emotions etc.) were analysed in the context of the musical means used to present them and of the entire short story. The background of this analysis consists of a short overview of the philosophical ideas about music and science expressed by Gambara in order to better present the sources of his ideas and the musical solutions that he used. [ABSTRACT FROM AUTHOR]

Some years ago I used a Bowie song, "Lady Stardust", for a warm-up activity at the beginning of a BA course in English Literature focusing on gender issues from the Romantic Age to the present. Resulting from that didactic experiment, this article aims at proposing ways in which Bowie's song and its lyrics can help students approach the interconnections between textual analysis and critical theory (Gender and Cultural Studies) by rooting them into language and social history. Furthermore, through reference to Sound Studies and 'aurality', it also invites the reader to reflect on how music can offer a valuable contribution for approaching literary and cultural studies, involving some pedagogical reflections inspired by Elena Madrussan's recent volume Formazione e musica: L'ineffabile significante nel quotidiano giovanile (Mimesis 2021). [ABSTRACT FROM AUTHOR]

Copyright of RILCE. Revista de Filología Hispánica is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article examines the fundamentals of musical polemics such as the Czech post-romantic composer Vítězslav Novák conducted against Richard Strauss. Based on the foundations of modern theories of intermediality (Zemanek 2012, Wirth 2004) and (post) romantic intermedial aesthetics (Schmidt 2005), a comparative formalistic and structural analysis of the musical version of Otto Julius Bierbaum's poem Traum durch die Dämmerung by Strauss and Novák is carried out. Using this song as an example, it is examined on which structural levels the musical polemics in Nováks composition are realized, to what extent they represent a specific composition technique and whether and how they call into question the omnipresent idea of romantic "absolute music" (Dahlhaus 1978). [ABSTRACT FROM AUTHOR]

Copyright of Educación y Ciudad is the property of Instituto para la Investigacion Educativa y Desarrollo Pedagogico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Diablotexto Digital is the property of Diablotexto Digital and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Shortly after the 1884–85 Berlin Conference, Germany invaded and fought a number of wars with Tanganyika's local chiefdoms in order to subject these territories to its colonial rule. In 1891 the Hehe people, who dwelt in Iringa region in the southern part of today's Tanzania, fought to resist the invading German troops and succeeded in killing the German commander, Emil von Zelewski. Using both fictional and historical persons, events and locations, a 1991 Kiswahili novel by Tanzanian writer Mugyabuso Mulokozi, Ngome ya Mianzi (Bamboo Fortress), retells the story of the first battle between the German troops and the Hehe, fought at Lugalo. This article examines the ways this novel uses musical figures, including songs, dances, sounds of musical instruments and sounds of birds and insects as semiotic resources to narrate the story, create its characters and shape various events. [ABSTRACT FROM AUTHOR]

Copyright of Ricercare is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reconsiders the literary refiguring of the British composer Peter Warlock as the character Giles Revelstoke in Robertson Davies's 1958 novel A Mixture of Frailties. Although several Davies scholars have highlighted the general nature of this portrait, a detailed consideration of how Cecil Gray's 1934 study of Warlock was a catalyst for Davies has yet to be explored. Gray's book allowed Davies to incorporate a plethora of details from Warlock's biography (including his untimely death) and to draw upon Warlock's work as a composer and critic, his reception, and his family background; however, Davies was also able to explore his own interpretative space. In comparing A Mixture of Frailties with other literary refigurings of Warlock in the early twentieth century, the detail of Davies's portrayal is distinctive, particularly in terms of its discussion of music. Davies's novel can therefore be identified as a significant contribution to musico-literary relations. [ABSTRACT FROM AUTHOR]

The article proposes a reflection concerning the connections between the voice representations or vocal practices, worked out towards the end of the Enlightenment period and in the first decades of the 19th century in the French cultural area, and the birth of the socio-economic system characteristic of the bourgeois society. The paper focuses, in particular, on political presuppositions - in the Aristotelian sense of the word « political » - on which all the uses of voice, both spoken and sung, are based. The objective of the study is to understand the status of voice and singing in the process of creation of a modern anthropology. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Ètudes Proustiennes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article provides a description of Polish musicians active today who have marked their work with their relationship with Buddhism (Tomek Lipiński, Tymon Tymański, Robert Brylewski, Maciej Magura Góralski). By examining interviews with them, their recollections and autobiographies I was able to conclude that their fascination with Buddhism are as much personal as belonging to the style of behaviours developed as early as the 1960s in the USA (the Beatnik generation). Owing to the peculiarities of Polish rock music and musicians' involvement in various types of cultural actions alternative to the European tradition, since the 1990s Buddhist motifs have been increasingly evident on the rock scene. Today's Polish Buddhist rock star is a socially engaged artist who does not shirk making confessional avowals on stage to audiences numbering many thousands or holding forth on spirituality in high-circulation publications featuring extended interviews. The Buddhism espoused by Polish rock stars is characterised by the space of freedom of beliefs and private spirituality. At the same time, though, it is a religious act of maturity, in which one searches for a way to experience everyday life to its fullest. [ABSTRACT FROM AUTHOR]

Fulvio Tomizza, one of the most fascinating and yet most neglected writers of the Italian twentieth century, dealt extensively with exile. In picturing the dramatic Istrian diaspora that followed the Second World War Italo-Yugoslav border redefinition, he focused on the moment of departure from one’s own country of origins, pinpointing a broken cosmos, which comes together with the progressive split of the self. Thanks to Edward Said’s theoretical investigations, Tomizza’s novelLa ragazza di Petroviacan be seen as shedding new light on the exilic condition and its dissonances. In particular, this analysis aims to develop a comparison between the musical dynamics of counterpoint (such as dissonance and simultaneity) and the narrative of the novel’s protagonist, in order to fully explore the controversial decision to remain in the country of one’s origin or move away. [ABSTRACT FROM PUBLISHER]

For majority of poets in the 20th century, recording was a natural way to perceive music and the phonographic devices created frames and context for many poetic creations. As the evolution of recording technology developed very quickly, the phonographic conditions of poetry changed with it. The role of musical machines in poems is usually minor: they are named or implied as a source of music in various spaces and conditions. Nevertheless, sometimes they became very important: their characteristic, form, way of working become the subject of observation, reflection, point of departure for metaphors as well as symbolic senses. The paper shows and describes a few examples of Polish poetry metamorphosing the phonographic devices (poems of Maria Pawlikowska-Jasnorzewska, Miron Białoszewski, Adam Zagajewski, Maciej Woźniak). [ABSTRACT FROM AUTHOR]

Copyright of Journal of Iberian & Latin American Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The occultist Aleister Crowley (1875–1947), author of a range of poetry, drama, essays and magical writings, remains a fascinating and controversial figure, but his connections with Richard Wagner have not been fully explored. In identifying several of Crowley's literary works from c.1900 onwards (poetry, prose, drama) that make overt reference to Wagner's compositions, this article suggests one possible catalyst for this burst of activity – the American soprano Susan Strong (1870–1946), to whom Crowley was briefly ‘engaged’ (according to his autohagiography) in 1899. In addition to exploring the Crowley–Strong relationship, the significant aspects of Strong's musical career, and her status as one of a series of musical women to whom Crowley was particularly attracted, the article discusses Crowley's Wagnerian works in the context of Strong's potential impact, offering a new perspective from which to appreciate his particular brand of Wagnerism. [ABSTRACT FROM PUBLISHER]

As the son of a musicologist and Wagner expert, Ford Madox Ford (1873–1939) was greatly influenced by the radical aesthetics of the composer, and despite an abortive musical career his understanding of music was carried into his subsequent literary work. Taking as its starting point the pioneering work on Ford's musical youth by Carl Stang and Sondra Smith (1989), this article contends that the writer's musicality finds its ultimate outlet in his Great War tetralogy, Parade's End (1924–1928). By examining the relationship between particular moments within the text and passages from Wagner's Tannhäuser and Tristan und Isolde, the combined force of this duality of artistic form can be seen as enabling Ford to address the ‘inexpressible’ trauma of war. Examining key musical references and formal techniques from across the novel, the article argues that the long-neglected connection between music and Ford's formal literary innovations is vital for an appreciation of Parade's End. [ABSTRACT FROM PUBLISHER]

Explicitly problematizing the relationship between music and literature, Samuel Beckett's Words and Music and Cascando are exemplary instances of intermediality, but only if we grasp this concept as a conceptual tool that helps us better understand the spectrality and neutrality that lie at the core of Beckett's poetics. The encounter between music and literature in these two radio plays is therefore a means of rendering paradoxically audible a ghostly absence, an aesthetic 'hauntology' (Derrida) that lies neither here nor there. This unceasing hesitation nonetheless calls for a decision beyond the neuter (Blanchot): language or music; this or that? Such is the impossible task at play in Cascando and Words and Music, as well as in the rest of Beckett's œuvre: letting the neuter be while still shaping (musical) movement. [ABSTRACT FROM AUTHOR]

The article analyzes the novel "Body and Soul" by Frank Conroy. Noting that many critics focus on the novel's exploration of the experience and theory of music, the author suggests that Conroy uses descriptive techniques to shift the emphasis from music to visual imagery. Particular attention is given to key moments in the narrative in which the character Claude loses his hearing ability and the scene's visual aspects are prioritized.

Copyright of Neohelicon is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Brasileira de Música is the property of Revista Brasileira de Musica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of PER MUSI: Revista Academica de Musica is the property of Escola de Musica da Universidade Federal de Minas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Attention has been drawn to German music's inspirational role in the 'birth' of techno and house in the United States, as well as to Germany's pre-eminent place in the recent development of electronic dance music. Some even suggest that techno might be inherently German. Yet whilst electronica seems to offer materials with which to imagine Germanness, an alternative reading is available. This article specifically examines how discourses about electronica and (post-)national identity intersect in Thomas Meinecke's recent musical oeuvre with Freiwillige Selbstkontrolle (FSK), which has for some years been involved in its own adaptations of electronica, and in his later novels, especially Hellblau. Both advance a celebratory reading of the international spread of electronica - and of the productive 'transatlantic feedback' between Germany and the United States - which is consistent not only with a long-standing German trope associated with African American forms of music (especially jazz), but also with more recent, postmodern approaches to identity. [ABSTRACT FROM AUTHOR]

This essay discusses Elfriede Jelinek's complex relation to music from both historical and theoretical perspectives, with reference to media theory and psychoanalysis. The first part situates her literary musicality relative to German Romanticism and Modernism (Joyce). Literary musicality is inseparable from a poetics of autonomy and self-reference, toward which Jelinek has an ambivalent relation. A passage from "Lust" is compared with Joyce's punning technique as analyzed by Lacan, and Freud's theory of jokes. Finally, "Die Klavierspielerin" is read to show music's links with perverse sexuality in the figure of Erika. Jelinek's complex musicality is in tension with her direct political and feminist engagement. [ABSTRACT FROM AUTHOR]

The article explores the connection of music in the art of Samuel Beckett. Music plays an important role in Beckett's art as noted in the continual presence of a defining motive that spans the thirty years between his novel "Watt" of 1953 and his television play "Nacht und Träume" of 1983. His attitude toward music contrast with his attitude toward the other arts as seen in his in how the way his protagonists such novel and play sing. This melodic connection is a constant motif in his works that turns out to be closely related to the motif of vision.

Copyright of Cuadernos de Literatura is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)