Debussy and the fragment by Cummins, Linda; Debussy, Claude; Debussy, Claude

By Cummins, Linda; Debussy, Claude; Debussy, Claude

Instead of stable frames, a few below excellent aesthetic gadgets have permeable membranes which permit them to diffuse without difficulty into the typical international. within the parallel universes of tune and literature, Linda Cummins extols the poetry of such imperfection. She locations Debussy's paintings inside of a convention thriving on anti-Aristotelian rules: motley collections, crumbling ruins genuine or faux, giant hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, inappropriate digressions, auto-quotations. delicate to the intermittences of reminiscence and event and with a willing ear for ironic intrusion, Cummins attracts the reader into the Western cultural prior looking for the unusually ubiquitous aesthetic of the incomplete, negatively silhouetted opposed to expectancies of rational coherence. Theories popularized by way of Schlegel and embraced through the French Symbolists are just the 1st waypoint on an elaborately illustrated travel achieving again to Petrarch. Cummins meticulously applies the derived effects to Debussy's rankings and reveals convincing correlations during this chiasmatic crossover. CONTENTS creation bankruptcy 1: Ruins of conference; Conventions of destroy bankruptcy 2: Beginnings and Endings bankruptcy three: Arcadias and Arabesques bankruptcy four: The caricature bankruptcy five: Auto-Quotation bankruptcy 6: Preludes: A Postlude Bibliography

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32 In a vivid description of their structure, Montaigne described his hodge-podge as an image that anticipated one of Friedrich Schlegel’s literary categories alternately labeled arabesque and grotesque. He compares his Essais to the Renaissance adaptation of decorative frescoes discovered in the late fifteenth-century excavation of Nero’s “golden house” in Rome: a work made of parts, mere decoration, a grotesque: 33 As I was considering the way a painter I employ went about his work, I had a mind to imitate him.

Lucinde is autobiographical, written when Schlegel was 26 (in 1798-99); it follows the life and loves of Julius (Schlegel), ending with his relationship with Lucinde (Dorothea Veit, whom Schlegel 84 Raymond Immerwahr, “Romantic Irony and Romantic Arabesque Prior to Romanticism,” The German Quarterly 42 (1969): 665; Philippe Lacoue-Labarthe and Jean-Luc Nancy, The Literary Absolute, translated by Philip Barnard and Cheryl Lester (Albany, New York: State University of New York Press, 1988), 40. Originally published as L’Absolu Littéraire (Paris: Éditions du Seuil, 1978).

These forms of fragmentation provided the models that would open the way to the Romantic fragment, models so numerous and rich that Harries applies one of Schlegel’s famous aphorisms (“Many works of the ancients have become fragments. ”72 In contrast to writers who often used fragments to represent chaos and disorder, some seventeenth- and eighteenth-century writers used them to express belief in an underlying, though incompletely understood, natural order. Cervantes, Petrarch, and Montaigne fragmented to represent the impossible.

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