Perspectives of Interdisciplinary Comparative Literature- Translated by Lindsay Davidson
Stereotype(s) of Music in Literature
In connection with the theoretically treated issue of “music in literature” and the scale of historical complexity in the background, key questions immediately appear. These become the main object of our interest: tradition or theory, theory or literary text, literary text or the author’s conviction, biography or interpretation... It is obvious that today it is impossible to point to a common interpretative key to simultaneously understand such concepts as: mousike (Greek μουσική for ancient Greeks meant music, speech, poetry, and dance), correspondance des arts (a romantic and post-romantic postulate of synthesis of the arts), and Wagnerian Gesamtkunstwerk; further examples are: the concept of oral poetry, the medieval minnesingers and troubadours, and the contemporary instigators and authors of sound poetry (including: K. Schwitters, B. Heidsieck, H. Chopin, D. Higgins). Furthermore, there is no common interpretative key for the practice of attaching musical notation to poetic texts that have been conditioned by mnemotechnical factors, as would be found with Ronsard in Les Amours or the factor of broadly understood avant-gardism in literature of the twentieth century (I am thinking here of the appearance of musical quotations and sophisticated intertextual strategies); for the well-known parallels: fine arts – arts developing in time (visual arts – temporal art), in concepts such as Lessing’s100 (1766) and Jan Kazimierz Ordyniec’s101 (1828), and the parallels between two types of art, which have guided the orientation of comparatistic and music-literature studies in the last two decades (including research by: S. P. Scher, F. Claudon, J.-L. Cupers, F. Escal, P....
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