By Cummins, Linda; Debussy, Claude; Debussy, Claude
Instead of sturdy frames, a few below excellent aesthetic gadgets have permeable membranes which enable them to diffuse without difficulty into the typical global. within the parallel universes of track and literature, Linda Cummins extols the poetry of such imperfection. She areas Debussy's paintings inside a practice thriving on anti-Aristotelian rules: motley collections, crumbling ruins genuine or faux, substantial hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, inappropriate digressions, auto-quotations. delicate to the intermittences of reminiscence and adventure and with a prepared 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 through Schlegel and embraced through the French Symbolists are just the 1st waypoint on an elaborately illustrated journey attaining 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 wreck 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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Additional resources for Debussy and the fragment
Victor Hugo, in the preface to his drama Cromwell, provides a manifesto of French Romanticism that relies heavily on his understanding of German Romantic thought; Baudelaire knew Jean-Paul (“le bon Jean-Paul, toujours si angélique quoique si moqueur”112), he and Gautier (and many others) knew Hoffmann,113 later in the century Laforgue lived in Germany and knew Heine’s works well, and never must Wagner’s influence be forgotten—on literature as much as music. 116 The second set parodies well-known authors, including authors of fragment collections, as well as those short phrases that have become aphorisms or maxims simply by virtue of being repeated.
The opposite may be true for the works of Rabelais and Cervantes, whose discontinuous narratives provided models for Diderot, Sterne, and ultimately Schlegel and the Romantics; these may present analytical problems to readers and critics today because the works follow narrative norms that are no longer familiar, norms that differ from the linear chronological model (from Aristotelian expectations of beginning/middle/end, or what Harries describes as temporal continuity and narrative flow45). As both Edwin M.
Johnson point out, an apparent lack of coherence and order in the works of Rabelais and Cervantes can best be understood as a transformation of the compositional logic, the norms and conventions, of genres common to Classical, medieval, and early modern literature: the epic, the epic quest, and the related epic or chivalric romance. 46 Rabelais In 1534 and again in 1535, Rabelais was in Rome as private physician to Cardinal Jean du Bellay. While the Cardinal joined the ranks of French antiquarians quite literally seizing for France “the glory that once was Rome,” dragging into exile artifacts to adorn France’s gardens and palaces,47 Rabelais continued to dismantle the 45 Harries, 111.