Muzyka w literaturze: perspektywy komparatystyki interdyscyplinarnej
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Universitas
2008
|
| Schriftenreihe: | Horyzonty Nowoczesności
65 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache Includes bibliographical references (p. [323]-324) and indexes |
| Beschreibung: | 351 p. 21 cm |
| ISBN: | 9788324207107 |
Internformat
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| 100 | 1 | |a Hejmej, Andrzej |d 1970- |e Verfasser |0 (DE-588)12841524X |4 aut | |
| 245 | 1 | 0 | |a Muzyka w literaturze |b perspektywy komparatystyki interdyscyplinarnej |c Andrzej Hejmej |
| 264 | 1 | |a Kraków |b Universitas |c 2008 | |
| 300 | |a 351 p. |c 21 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Horyzonty Nowoczesności |v 65 | |
| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Includes bibliographical references (p. [323]-324) and indexes | ||
| 650 | 4 | |a Music and literature | |
| 650 | 4 | |a Music in literature | |
| 650 | 4 | |a Literature, Comparative | |
| 650 | 4 | |a Comparative literature | |
| 650 | 4 | |a Music and literature | |
| 650 | 4 | |a Music in literature | |
| 650 | 0 | 7 | |a Vergleichende Forschung |0 (DE-588)4309916-6 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Musik |0 (DE-588)4040802-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Literatur |0 (DE-588)4035964-5 |2 gnd |9 rswk-swf |
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| 689 | 0 | 1 | |a Literatur |0 (DE-588)4035964-5 |D s |
| 689 | 0 | 2 | |a Vergleichende Forschung |0 (DE-588)4309916-6 |D s |
| 689 | 0 | |5 DE-604 | |
| 830 | 0 | |a Horyzonty Nowoczesności |v 65 |w (DE-604)BV013374053 |9 65 | |
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016454129&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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Datensatz im Suchindex
| _version_ | 1804137581940572160 |
|---|---|
| adam_text | Spis
tresei
Wprowadzenie
...................................................................................5
I. Tekst
-
partytura
.......................................................................7
II.
„Klasyczne teorie intertekstualności
....................................13
III. Konsekwencje literaturoznawcze
.........................................19
IV.
Nowe ujęcia intertekstualności
.............................................25
V.
Intertekstualność i partytura literacka
....................................31
Część pierwsza
W stronę nowoczesnej komparatystyki
Stereotyp(y) muzyki w literaturze
.................................................39
I. Stereotyp analogii (estetyka ogólna)
.......................................41
II.
Stereotyp (m^muzyczności literatury
...................................46
III. Muzyczne konteksty i interteksty
.........................................50
IV.
Muzyka w literaturze (próby typologii)
...............................54
Partytura literacka.
Przedmiot badań komparatystyki interdyscyplinarnej
..............59
I. Literatura
-
muzyka (uwagi metodologiczne)
........................59
II.
„Partytury bez nut (przegląd zagadnień)
.............................64
III. Partytura literacka (muzyczny
intertekst)
............................70
IV.
Perspektywy badawcze
.........................................................76
Interdyscyplinarność i badania komparatystyczne
.....................81
I. Uwagi wstępne
........................................................................81
II.
Wokót interdyscyplinarności
.................................................85
350
Spis treści
III.
Komparatystyka literacka
-
interdyscyplinarność
...............89
IV.
Komparatystyka interdyscyplinarna
.....................................93
V.
Komparatystyka kulturowa
....................................................98
VI.
Uwagi końcowe
.................................................................103
Część druga
Tekst
-
tekst dźwiękowy
-
partytura słowna
Partytury poezji dźwiękowej
(cyklBernarda
HeidsieckaPoèmes-partitions)
..............................
Ill
I. Partytura
-
tekst dźwiękowy
................................................. 111
II.
Poezja dźwiękowa: źródła, tendencje, definicje
.................. 115
III. Eksperymenty Bernarda Heidsiecka
..................................122
IV.
Reperkusje
..........................................................................131
Tekst (dźwiękowy)
Mirona Bialoszewskiego
..............................139
I. Typy tekstualności (tezy)
......................................................139
II.
Szumy
-
zlepy
-
dźwięki (estetyka oralności)
....................144
III. Słowne partytury
................................................................149
IV.
Od partytury do „dziania się (Imiesłów)
...........................154
V.
Paralele
................................................................................162
Wokół Schaefferowskich partytur
...............................................169
I. „Twórca interdyscyplinarny
................................................169
II.
Eksperymenty muzyczne i teatr instrumentalny
..................173
III. Partytura teatralna/sceniczna/dramaturgiczna (Próby)
......180
IV.
Konsekwencje
....................................................................187
Część trzecia
Granice interpretacji: partytura implikowana
(D)efekt tłumaczeń Chopina
(Zakochana Kornela Ujejskiego)
....................................................195
I. Uwagi wstępne
......................................................................195
II.
Kornel Ujejski i muzyka
......................................................200
III. Chopin
-
Leonia Wildowa
-
Ujejski
..................................206
IV.
Zakochana
-
Mazurek
a-moll
op.
7
nr
2.............................210
V.
Konkluzje
.............................................................................219
Spis treści
351
Peryferyjne znaczenia muzyki
{Aria: Awaria Stanisława Barańczaka)
...........................................227
I. Don
Giovanni
Mozarta
-
reperkusje literackie
.....................227
II.
Paralele intertekstualne
........................................................230
III. Semantyczne efekty stylizacji
............................................237
IV.
Konsekwencje
....................................................................242
Tekst-partytura
Michela
Bútora
{Dialogue avec
33
variations de
Ludwig
van Beethoven
sur une valse de
Diabelli) ...............................................................
247
I. „Intertekstualnośćzgeneralizowana
....................................247
II.
Dyskurs muzyczny
Bútora
.................................................. 253
III. Partytura (literacka)
............................................................258
IV.
Dialog
Bútora
z
Beethovenem
...........................................263
V.
Inny
Butor
............................................................................275
Bibliografía....................................................................................
281
Nota bibliograficzna
......................................................................323
Indeks nazwisk
..............................................................................325
Indeks rzeczowy
............................................................................337
Summary
........................................................................................343
Summary
The book represents an attempt at organizing and systematiz¬
ing the problems relating to relationships between literature and
music in the light of the latest ideas put forward by comparatists
and theoreticians of intertextuality. Reflection on the phenomenon
of music in literature stems from American and West European
traditions in interdisciplinary comparative literature (C.S. Brown,
S.P.
Scher,
P. Brunei, J.-L.
Backes, F. Claudon,
A. Locatelli). One
of the problems here that attract greatest attention is the so-called
literary score , or the phenomenon of musical intertexts that
occur in literature. The problem of such a score is presented in
as broad a context as possible: from purely metaphoric concep¬
tions in literary studies (various cases of talking about the score
of a literary text ), to conceptions of studying strict
intertextual
relationships where a literary text either implies a particular mu¬
sical composition, or is precisely set in it, or else co-exists with
it as a component of an
intermediai
form. The author s attention
is especially attracted by those works in which the musical score
(musical composition) becomes an integral part of the literary
text. As a result, the first parts of the book present a review of
theories of intertextuality and of the latest ideas offered in com¬
parative studies, which constitutes a starting point for the analyses
and interpretations of both general phenomena (e.g. the Romantic
traditions of literary translations of music, modern sound poetry)
and particular artistic creations (by Bernard Heidsieck, Miron
344
Summary
Białoszewski, Bogusław
Schaeffer,
Kornel Ujejski, Stanisław
Barańczak
and Michel
Butor).
The Introduction presents different theories of intertextuality
in order to delineate within the purview of interdisciplinary com¬
parative literature a field for the study of music in literature .
The author signals a terminological confusion connected with the
understanding of some fundamental notions (text, score, literary
score) and comments on modern programmes of interdisciplin¬
ary studies. Having distinguished
-
after, La., Steven P.
Scher
-
three principal possible manifestations of music in literature
(word music, musical structures and techniques, verbal music),
the author highlights a special case among multiple phenomena
-
that of a literary score. It involves situations where the score
of a particular musical composition is one of the conditions for
an interpretation of a literary text, and thus constitutes the least
controversial use of a musical term in literary studies. Taking into
account the ideas offered by theoreticians of intertextuality (rep¬
resenting classical traditions: J.
Kristeva,
R.
Barthes,
L.
Jenny,
M. Riffaterre, G.
Genette,
as well as more modern ones: M. Eigel-
dinger, G. Allen, M.
Orr)
makes it possible to place the problem
of music in literature in a new light, to talk about a literary score
in terms of transartistic intertextuality and intermediality.
The minutiae connected with the problem of a score in lit¬
erature and with the literary and comparative methods of study
are set in three complementary contexts:
Part I of the book, entitled Towards modern comparative lit¬
erature, constitutes a revision devoted to problems of methodol¬
ogy. At first the problem of music in literature is presented in the
traditional perspective of aesthetics, with all its consequences:
discussing the stereotype of
(non-)musicality
in literature, possi¬
ble analogies, and music-literature references (ch. Stereotype(s) of
music in literature). In such a perspective, though, the phenomena
connected with a score in the context of literature turn out
-
as a
result of, i.a., metaphorizing the literary theory discourse
-
to be
impossible to systematize (since most often one has to deal with
pure metaphors, scores without notes , so to say). This gives rise
to the need for organizing the sphere of problems involved here,
Summary
345
limiting the scope of problems commonly associated with music
in a literary text, or, in other words: the idea of interpreting a score
as a musical intertext in literature. Such a choice entails an inter¬
disciplinary path of study and has far-reaching consequences for
interpretation and analysis as well as for theory and methodology
which are connected with the understanding of modern compara¬
tive literature (ch. A literary score
-
a subject of interdisciplin¬
ary comparative literature). Any attempt at evaluating the state
of the comparativist reflection during the last few decades or
determining the situation of interdisciplinary comparative litera¬
ture, including their situation at the beginning of the 21st century,
is ultimately connected with the problem of interdisciplinarity.
Abroad understanding of this category (as a concept, methodol¬
ogy, way of thinking, etc.) leads to confronting multiple models
of comparative studies and, as a result, to distinguishing tra¬
ditional comparative literature, interdisciplinary comparative
literature and comparative cultural studies (ch. Interdisciplinarity
and comparative studies).
Part II (Text
-
text-sound
-
verbal score) discusses three cases
of a verbal record in reference to which the term score is used,
namely in the case of a sonorous poet (Bernard Heidsieck), cre¬
ator of experimental drama (Miron
Białoszewski)
and composer-
dramatist
(Bogusław
Schaeffer). An analysis of the
intermediai
series by Bernard Heidsieck
Poèmes-partitions,
which he has
been creating since
1955,
is a pretext for taking a closer look at
the phenomenon of sound poetry. In this context, the author is in¬
terested, on the one hand, in the idea of a text-sound and its graph¬
ic record
-
a score (according to theoreticians of sound poetry,
such as H. Chopin, B. Heidsieck, J.-R Bobillot, J.-Y.
Bosseur)
and, on the other hand, in the principles underlying Heidsieck s
poetry as well as individually developed means of artistic creation
(ch. Scores of sound poetry /Bernard Heidsieck s series
Poèmes-
partitions
Δ.
Looking at a text as score is connected with both the
phonics and the graphics of a textual record, and is characteristic
of many interpreters of Miron
Białoszewski,
who are interested,
among other things, in the piece
Imiesłów.
Gramai.
An interpre¬
tation of this piece from the Separate Theatre drama (first edi-
346
Summary
tion:
1958;
premiere:
20
April
1959)
makes it possible to locate
Biatoszewski s idea in the context of contemporary sound poetry
and to indicate certain similarities between a linguist s activities
and those of, for example, Heidsieck (ch. Miron
Białoszewski
s
text/sound/). In the case of stage projects by
Bogusław
Schaeffer,
talking about a score
-
text-score, theatrical, stage, dramaturgic
etc. score
-
stems from the fact that the author is a composer,
theoretician of music, and a graphic artist. Schaeffer s original
way of understanding music and contemporary score leads him
not only to successive musical experiments, such as the concept
of instrumental theatre , but also to experiments that determine
the peculiar form of the theatrical pieces written by a dramatist-
composer (ch. Around Schaeffer s scores).
Part III {The limits of interpretation: an implied score) is con¬
cerned with explication of literary texts in the case of which the
verbal record relates to a particular musical score and, in combi¬
nation with the musical composition, constitutes a unique palimp¬
sest. A classic example of such an
intertextual
form, of such doub¬
le-coding, is
Kornel
Ujejski s poetic cycle
Tłumaczenia Szopena
{Translations of Chopin] (Leipzig
1866),
and in particular one
of the pieces contained therein,
Zakochana {Dzieło
7.
Mazurek
2.).
Ujejski
interprets
Chopin
according to the convention char¬
acteristic of the period, imposing a random literary programme
on the instrumental musical compositions. The piece thus turns
out to be a perfect vocal transcription of Chopin s Mazurka in
A minor Op.
7
No.
2
and
-
although it is still a text to be read
-
it requires from the interpreter taking into account the musi¬
cal intertext (ch. /D/effect of translating Chopin
/ Zakochana
by
Kornel Ujejski/).
In the case of
Stanisław
Baranczak s Aria:
Awaria
(vol.
Chirurgiczna precyzja,
1998)
double-coding takes
the form of meticulous
intertextual
reference to Mozart s aria Ah,
chi mi dice mai
(Donna Elvira). In this case, understanding Aria:
Awaria
and the description of the everyday reality of the contem¬
porary world seems impossible without looking at the score of
Don Giovanni, without listening to and general familiarity with
Mozart s operas, especially that the person writing a poetic com¬
mentary on Mozart s music is the author of the Polish translation
Summary
347
of the whole Lorenzo
Da Ponte
libretto (ch. Peripheral meanings
of music
/Stanisław
Baranczak s Aria:
Awaria
/).
A radical ex¬
ample of a literary score is Michel
Butor s
unusual Dialogue
avec
33
variations
de Ludwig
van Beethoven
sur une valse de
Diabelli.
Existing in two versions
-
book
(1971)
and
intermedial (2001),
recited in public in the concert-conference convention and at
the same time representing an autonomous literary record, the
piece is a commentary on Beethoven s
33
Variations on a Waltz
by Diabelli Op.
120.
An interpretation of
Butor s
dialogue with
Beethoven reveals the rales of intertextual creation and discloses
the main characteristics of the French writer s
-
theoretician and
practician of intertextuality
-
aesthetics of otherness (ch. Mi¬
chel
Butor s
text-score / Dialogue
avec
33
variations
de Ludwig
van Beethoven
sur une valse
de
Diabelli /).
The palimpsest character of the texts analyzed determines the
mode of reading, imposes an intertextual model of interpretation,
as well as an intertextual
(intermediai)
character of study. In such
a case it is difficult to make an attempt at any theoretical general¬
izations
-
after all different intertextual relationships are involved
in Ujejski s
Zakochana
and Chopin s Mazurka in A minor Op.
7
No.
2,
and they are different in the case of Baranczak s Aria:
Awaria
and Mozart s Don Giovanni, and still different in Butor s
Dialogue
avec
33
variations
de Ludwig
van Beethoven
sur une
valse de
Diabelli and Beethoven s
33
Variations on a Waltz by
Diabelli Op.
120.
It is obvious, however, that the texts inter¬
preted can be compared with respect to the same set of problems,
taking into account the phenomenon of music in literature, and
particularly the problem of a literary score. This is so because
the condition for interpreting these types of texts
-
as a result
of music-literature intertextual tensions
-
turns out to be a score
of a particular musical piece. In other words, determining the
relationships between a literary record and a musical composi¬
tion from the point of view of interdisciplinary comparative lit¬
erature boils down to analyzing particular cases , which entails
far-reaching consequences. One of the important results of the
studies of music in literature offered in the book is the abandon¬
ment of a metaphor-ridden discourse and a talk about the score
348
Summary
of a literary text (even in the case of such an experimental piece
as
Stephane
Mallarmé s Un Coup de Dés jamais n abolira le
Hasard).
Adopting the
perspective
of interdisciplinary
compara¬
tive
literature makes it possible to limit the range of problems of
music in literature, on the one hand, and opens up new vistas of
research for the contemporary theoretician of literature, on the
other, thereby enabling the study of well-known phenomena from
the comparativist perspective.
|
| adam_txt |
Spis
tresei
Wprowadzenie
.5
I. Tekst
-
partytura
.7
II.
„Klasyczne" teorie intertekstualności
.13
III. Konsekwencje literaturoznawcze
.19
IV.
Nowe ujęcia intertekstualności
.25
V.
Intertekstualność i partytura literacka
.31
Część pierwsza
W stronę nowoczesnej komparatystyki
Stereotyp(y) muzyki w literaturze
.39
I. Stereotyp analogii (estetyka ogólna)
.41
II.
Stereotyp (m^muzyczności literatury
.46
III. Muzyczne konteksty i interteksty
.50
IV.
Muzyka w literaturze (próby typologii)
.54
Partytura literacka.
Przedmiot badań komparatystyki interdyscyplinarnej
.59
I. Literatura
-
muzyka (uwagi metodologiczne)
.59
II.
„Partytury" bez nut (przegląd zagadnień)
.64
III. Partytura literacka (muzyczny
intertekst)
.70
IV.
Perspektywy badawcze
.76
Interdyscyplinarność i badania komparatystyczne
.81
I. Uwagi wstępne
.81
II.
Wokót interdyscyplinarności
.85
350
Spis treści
III.
Komparatystyka literacka
-
interdyscyplinarność
.89
IV.
Komparatystyka interdyscyplinarna
.93
V.
Komparatystyka kulturowa
.98
VI.
Uwagi końcowe
.103
Część druga
Tekst
-
tekst dźwiękowy
-
partytura słowna
Partytury poezji dźwiękowej
(cyklBernarda
HeidsieckaPoèmes-partitions)
.
Ill
I. Partytura
-
tekst dźwiękowy
. 111
II.
Poezja dźwiękowa: źródła, tendencje, definicje
. 115
III. Eksperymenty Bernarda Heidsiecka
.122
IV.
Reperkusje
.131
Tekst (dźwiękowy)
Mirona Bialoszewskiego
.139
I. Typy tekstualności (tezy)
.139
II.
Szumy
-
zlepy
-
dźwięki (estetyka oralności)
.144
III. Słowne partytury
.149
IV.
Od partytury do „dziania się" (Imiesłów)
.154
V.
Paralele
.162
Wokół Schaefferowskich partytur
.169
I. „Twórca interdyscyplinarny"
.169
II.
Eksperymenty muzyczne i teatr instrumentalny
.173
III. Partytura teatralna/sceniczna/dramaturgiczna (Próby)
.180
IV.
Konsekwencje
.187
Część trzecia
Granice interpretacji: partytura implikowana
(D)efekt tłumaczeń Chopina
(Zakochana Kornela Ujejskiego)
.195
I. Uwagi wstępne
.195
II.
Kornel Ujejski i muzyka
.200
III. Chopin
-
Leonia Wildowa
-
Ujejski
.206
IV.
Zakochana
-
Mazurek
a-moll
op.
7
nr
2.210
V.
Konkluzje
.219
Spis treści
351
Peryferyjne znaczenia muzyki
{Aria: Awaria Stanisława Barańczaka)
.227
I. Don
Giovanni
Mozarta
-
reperkusje literackie
.227
II.
Paralele intertekstualne
.230
III. Semantyczne efekty stylizacji
.237
IV.
Konsekwencje
.242
Tekst-partytura
Michela
Bútora
{Dialogue avec
33
variations de
Ludwig
van Beethoven
sur une valse de
Diabelli) .
247
I. „Intertekstualnośćzgeneralizowana"
.247
II.
Dyskurs muzyczny
Bútora
. 253
III. Partytura (literacka)
.258
IV.
Dialog
Bútora
z
Beethovenem
.263
V.
Inny
Butor
.275
Bibliografía.
281
Nota bibliograficzna
.323
Indeks nazwisk
.325
Indeks rzeczowy
.337
Summary
.343
Summary
The book represents an attempt at organizing and systematiz¬
ing the problems relating to relationships between literature and
music in the light of the latest ideas put forward by comparatists
and theoreticians of intertextuality. Reflection on the phenomenon
of "music in literature" stems from American and West European
traditions in interdisciplinary comparative literature (C.S. Brown,
S.P.
Scher,
P. Brunei, J.-L.
Backes, F. Claudon,
A. Locatelli). One
of the problems here that attract greatest attention is the so-called
"literary score", or the phenomenon of musical intertexts that
occur in literature. The problem of such a score is presented in
as broad a context as possible: from purely metaphoric concep¬
tions in literary studies (various cases of talking about the "score
of a literary text"), to conceptions of studying strict
intertextual
relationships where a literary text either implies a particular mu¬
sical composition, or is precisely set in it, or else co-exists with
it as a component of an
intermediai
form. The author's attention
is especially attracted by those works in which the musical score
(musical composition) becomes an integral part of the literary
text. As a result, the first parts of the book present a review of
theories of intertextuality and of the latest ideas offered in com¬
parative studies, which constitutes a starting point for the analyses
and interpretations of both general phenomena (e.g. the Romantic
traditions of literary translations of music, modern sound poetry)
and particular artistic creations (by Bernard Heidsieck, Miron
344
Summary
Białoszewski, Bogusław
Schaeffer,
Kornel Ujejski, Stanisław
Barańczak
and Michel
Butor).
The Introduction presents different theories of intertextuality
in order to delineate within the purview of interdisciplinary com¬
parative literature a field for the study of "music in literature".
The author signals a terminological confusion connected with the
understanding of some fundamental notions (text, score, literary
score) and comments on modern programmes of interdisciplin¬
ary studies. Having distinguished
-
after, La., Steven P.
Scher
-
three principal possible manifestations of music in literature
(word music, musical structures and techniques, verbal music),
the author highlights a special case among multiple phenomena
-
that of a literary score. It involves situations where the score
of a particular musical composition is one of the conditions for
an interpretation of a literary text, and thus constitutes the least
controversial use of a musical term in literary studies. Taking into
account the ideas offered by theoreticians of intertextuality (rep¬
resenting "classical" traditions: J.
Kristeva,
R.
Barthes,
L.
Jenny,
M. Riffaterre, G.
Genette,
as well as more modern ones: M. Eigel-
dinger, G. Allen, M.
Orr)
makes it possible to place the problem
of music in literature in a new light, to talk about a literary score
in terms of transartistic intertextuality and intermediality.
The minutiae connected with the problem of a "score" in lit¬
erature and with the literary and comparative methods of study
are set in three complementary contexts:
Part I of the book, entitled Towards modern comparative lit¬
erature, constitutes a revision devoted to problems of methodol¬
ogy. At first the problem of music in literature is presented in the
traditional perspective of aesthetics, with all its consequences:
discussing the stereotype of
(non-)musicality
in literature, possi¬
ble analogies, and music-literature references (ch. Stereotype(s) of
music in literature). In such a perspective, though, the phenomena
connected with a "score" in the context of literature turn out
-
as a
result of, i.a., metaphorizing the literary theory discourse
-
to be
impossible to systematize (since most often one has to deal with
pure metaphors, "scores without notes", so to say). This gives rise
to the need for organizing the sphere of problems involved here,
Summary
345
limiting the scope of problems commonly associated with music
in a literary text, or, in other words: the idea of interpreting a score
as a musical intertext in literature. Such a choice entails an inter¬
disciplinary path of study and has far-reaching consequences for
interpretation and analysis as well as for theory and methodology
which are connected with the understanding of modern compara¬
tive literature (ch. A literary score
-
a subject of interdisciplin¬
ary comparative literature). Any attempt at evaluating the state
of the comparativist reflection during the last few decades or
determining the situation of interdisciplinary comparative litera¬
ture, including their situation at the beginning of the 21st century,
is ultimately connected with the problem of interdisciplinarity.
Abroad understanding of this category (as a concept, methodol¬
ogy, way of thinking, etc.) leads to confronting multiple models
of comparative studies and, as a result, to distinguishing "tra¬
ditional" comparative literature, interdisciplinary comparative
literature and comparative cultural studies (ch. Interdisciplinarity
and comparative studies).
Part II (Text
-
text-sound
-
verbal score) discusses three cases
of a verbal record in reference to which the term "score" is used,
namely in the case of a sonorous poet (Bernard Heidsieck), cre¬
ator of experimental drama (Miron
Białoszewski)
and composer-
dramatist
(Bogusław
Schaeffer). An analysis of the
intermediai
series by Bernard Heidsieck
Poèmes-partitions,
which he has
been creating since
1955,
is a pretext for taking a closer look at
the phenomenon of sound poetry. In this context, the author is in¬
terested, on the one hand, in the idea of a text-sound and its graph¬
ic record
-
a "score" (according to theoreticians of sound poetry,
such as H. Chopin, B. Heidsieck, J.-R Bobillot, J.-Y.
Bosseur)
and, on the other hand, in the principles underlying Heidsieck's
poetry as well as individually developed means of artistic creation
(ch. Scores of'sound poetry /Bernard Heidsieck's series
"Poèmes-
partitions
"Δ.
Looking at a text as score is connected with both the
phonics and the graphics of a textual record, and is characteristic
of many interpreters of Miron
Białoszewski,
who are interested,
among other things, in the piece
Imiesłów.
Gramai.
An interpre¬
tation of this piece from the Separate Theatre drama (first edi-
346
Summary
tion:
1958;
premiere:
20
April
1959)
makes it possible to locate
Biatoszewski's idea in the context of contemporary sound poetry
and to indicate certain similarities between a linguist's activities
and those of, for example, Heidsieck (ch. Miron
Białoszewski
's
text/sound/). In the case of stage projects by
Bogusław
Schaeffer,
talking about a score
-
text-score, theatrical, stage, dramaturgic
etc. score
-
stems from the fact that the author is a composer,
theoretician of music, and a graphic artist. Schaeffer's original
way of understanding music and contemporary score leads him
not only to successive musical experiments, such as the concept
of "instrumental theatre", but also to experiments that determine
the peculiar form of the theatrical pieces written by a dramatist-
composer (ch. Around Schaeffer's scores).
Part III {The limits of interpretation: an implied score) is con¬
cerned with explication of literary texts in the case of which the
verbal record relates to a particular musical score and, in combi¬
nation with the musical composition, constitutes a unique palimp¬
sest. A classic example of such an
intertextual
form, of such doub¬
le-coding, is
Kornel
Ujejski's poetic cycle
Tłumaczenia Szopena
{Translations of Chopin] (Leipzig
1866),
and in particular one
of the pieces contained therein,
Zakochana {Dzieło
7.
Mazurek
2.).
Ujejski
interprets
Chopin
according to the convention char¬
acteristic of the period, imposing a random literary programme
on the instrumental musical compositions. The piece thus turns
out to be a perfect vocal transcription of Chopin's Mazurka in
A minor Op.
7
No.
2
and
-
although it is still a text to "be read"
-
it requires from the interpreter taking into account the musi¬
cal intertext (ch. /D/effect of translating Chopin
/"Zakochana"
by
Kornel Ujejski/).
In the case of
Stanisław
Baranczak's Aria:
Awaria
(vol.
Chirurgiczna precyzja,
1998)
double-coding takes
the form of meticulous
intertextual
reference to Mozart's aria "Ah,
chi mi dice mai"
(Donna Elvira). In this case, understanding Aria:
Awaria
and the description of the everyday reality of the contem¬
porary world seems impossible without looking at the score of
Don Giovanni, without listening to and general familiarity with
Mozart's operas, especially that the person writing a poetic com¬
mentary on Mozart's music is the author of the Polish translation
Summary
347
of the whole Lorenzo
Da Ponte
libretto (ch. Peripheral meanings
of music
/Stanisław
Baranczak's "Aria:
Awaria
"/).
A radical ex¬
ample of a literary score is Michel
Butor 's
unusual Dialogue
avec
33
variations
de Ludwig
van Beethoven
sur une valse de
Diabelli.
Existing in two versions
-
book
(1971)
and
intermedial (2001),
recited in public in the "concert-conference" convention and at
the same time representing an autonomous literary record, the
piece is a commentary on Beethoven's
33
Variations on a Waltz
by Diabelli Op.
120.
An interpretation of
Butor 's
dialogue with
Beethoven reveals the rales of intertextual creation and discloses
the main characteristics of the French writer's
-
theoretician and
practician of intertextuality
-
"aesthetics of otherness" (ch. Mi¬
chel
Butor 's
text-score /"Dialogue
avec
33
variations
de Ludwig
van Beethoven
sur une valse
de
Diabelli"/).
The palimpsest character of the texts analyzed determines the
mode of reading, imposes an intertextual model of interpretation,
as well as an intertextual
(intermediai)
character of study. In such
a case it is difficult to make an attempt at any theoretical general¬
izations
-
after all different intertextual relationships are involved
in Ujejski's
Zakochana
and Chopin's Mazurka in A minor Op.
7
No.
2,
and they are different in the case of Baranczak's Aria:
Awaria
and Mozart's Don Giovanni, and still different in Butor's
Dialogue
avec
33
variations
de Ludwig
van Beethoven
sur une
valse de
Diabelli and Beethoven's
33
Variations on a Waltz by
Diabelli Op.
120.
It is obvious, however, that the texts inter¬
preted can be compared with respect to the same set of problems,
taking into account the phenomenon of music in literature, and
particularly the problem of a literary score. This is so because
the condition for interpreting these types of texts
-
as a result
of music-literature intertextual tensions
-
turns out to be a score
of a particular musical piece. In other words, determining the
relationships between a literary record and a musical composi¬
tion from the point of view of interdisciplinary comparative lit¬
erature boils down to analyzing particular "cases", which entails
far-reaching consequences. One of the important results of the
studies of music in literature offered in the book is the abandon¬
ment of a metaphor-ridden discourse and a talk about the "score
348
Summary
of a literary text" (even in the case of such an experimental piece
as
Stephane
Mallarmé's Un Coup de Dés jamais n'abolira le
Hasard).
Adopting the
perspective
of interdisciplinary
compara¬
tive
literature makes it possible to limit the range of problems of
music in literature, on the one hand, and opens up new vistas of
research for the contemporary theoretician of literature, on the
other, thereby enabling the study of well-known phenomena from
the comparativist perspective. |
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| id | DE-604.BV023269082 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T20:35:10Z |
| indexdate | 2024-07-09T21:14:35Z |
| institution | BVB |
| isbn | 9788324207107 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016454129 |
| oclc_num | 224484495 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 351 p. 21 cm |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Universitas |
| record_format | marc |
| series | Horyzonty Nowoczesności |
| series2 | Horyzonty Nowoczesności |
| spelling | Hejmej, Andrzej 1970- Verfasser (DE-588)12841524X aut Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej Andrzej Hejmej Kraków Universitas 2008 351 p. 21 cm txt rdacontent n rdamedia nc rdacarrier Horyzonty Nowoczesności 65 Zsfassung in engl. Sprache Includes bibliographical references (p. [323]-324) and indexes Music and literature Music in literature Literature, Comparative Comparative literature Vergleichende Forschung (DE-588)4309916-6 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Literatur (DE-588)4035964-5 gnd rswk-swf Musik (DE-588)4040802-4 s Literatur (DE-588)4035964-5 s Vergleichende Forschung (DE-588)4309916-6 s DE-604 Horyzonty Nowoczesności 65 (DE-604)BV013374053 65 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016454129&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016454129&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Hejmej, Andrzej 1970- Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej Horyzonty Nowoczesności Music and literature Music in literature Literature, Comparative Comparative literature Vergleichende Forschung (DE-588)4309916-6 gnd Musik (DE-588)4040802-4 gnd Literatur (DE-588)4035964-5 gnd |
| subject_GND | (DE-588)4309916-6 (DE-588)4040802-4 (DE-588)4035964-5 |
| title | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej |
| title_auth | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej |
| title_exact_search | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej |
| title_exact_search_txtP | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej |
| title_full | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej Andrzej Hejmej |
| title_fullStr | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej Andrzej Hejmej |
| title_full_unstemmed | Muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej Andrzej Hejmej |
| title_short | Muzyka w literaturze |
| title_sort | muzyka w literaturze perspektywy komparatystyki interdyscyplinarnej |
| title_sub | perspektywy komparatystyki interdyscyplinarnej |
| topic | Music and literature Music in literature Literature, Comparative Comparative literature Vergleichende Forschung (DE-588)4309916-6 gnd Musik (DE-588)4040802-4 gnd Literatur (DE-588)4035964-5 gnd |
| topic_facet | Music and literature Music in literature Literature, Comparative Comparative literature Vergleichende Forschung Musik Literatur |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016454129&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016454129&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV013374053 |
| work_keys_str_mv | AT hejmejandrzej muzykawliteraturzeperspektywykomparatystykiinterdyscyplinarnej |