Portes musicales et seuil du langage chez Pascal Quignard
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Universidade Federal de Minas Gerais
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Artigo de periódico
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This article discusses some aspects of the relation between literature and music,
with Pascal Quignard’s book La Haine de la musique as the object of
examination. Quignard is known as someone who not just writes about music,
but also attempts to incorporate musical elements into his distinctive style of
writing. I examine different approaches of the dialectical movement between
enunciation and the enunciated. My argument aims at documenting the
influence of what the author names “l’esp ece du son” on some aspects of the
book: the status of some musical elements hidden in the origin of literary forms,
subjective manifestations related to dialectic tension between sense and non sense in the literary field and the incidence of musical forms upon it, and
aesthetical and synesthetic manifestations of musical pleasure/displeasure (la
jouissance musicale) and its incidence on literary forms. A short interlude is
included, too, in which Quignard’s Medea is also analyzed, as well as some
critical contributions on the subject, from French structuralism and post structuralism, namely Barthes’ and Lacan’s works.
Abstract
Assunto
Quignard, Pascal, 1948-, Música e literatura
Palavras-chave
Pascal Guignard, Enunciation, Enunciated, Language, Musical, Unconscious
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https://www.tandfonline.com/doi/full/10.1080/17409292.2017.1396753