By Linda Cummins
Instead of sturdy frames, a few under ideal aesthetic items have permeable membranes which enable them to diffuse without difficulty into the standard international. within the parallel universes of song and literature, Linda Cummins extols the poetry of such imperfection. She areas Debussy's paintings inside a convention thriving on anti-Aristotelian rules: motley collections, crumbling ruins genuine or pretend, large 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 willing ear for ironic intrusion, Cummins attracts the reader into the Western cultural earlier looking for the strangely ubiquitous aesthetic of the incomplete, negatively silhouetted opposed to expectancies of rational coherence. Theories popularized by means 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 wreck bankruptcy 2: Beginnings and Endings bankruptcy three: Arcadias and Arabesques bankruptcy four: The comic strip bankruptcy five: Auto-Quotation bankruptcy 6: Preludes: A Postlude Bibliography
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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. Edwin M. Duval, The Design of Rabelais’s Pantagruel (New Haven and London: Yale University Press, 1991), xiii-xvi; Duval, “Rabelais and Textual Architecture” in A New History of French Literature, ed.
Frame, preface to The Complete Works of Montaigne: Essays, Travel Journal, Letters by Michel de Montaigne, trans. Donald M. Frame (Stanford, CA: Stanford University Press, 1957), 2. 33 They were labeled grotesque because viewers had to be lowered through tunnels into the excavated rooms—hence the Italian root of grotesque, grotta, meaning cave. Goethe’s description of them prompted Friedrich Schlegel’s adoption of the term for digressive narrative. Wolfgang Kayser, The Grotesque in Art and Literature, trans.
73 In “Knowledge Broken,”74 Kenshur compares Bacon’s seventeenth-century Novum Organum and its eighteenth-century counterpart, Diderot’s De l’Interprétation de la nature. Both are presented in aphoristic format—in short sections separated by blank spaces. Kenshur credits Montaigne’s Essais and the ancient Greek and Roman collections of aphorisms as models for both. These more 71 Harries, 2, citing Friedrich Schlegel, Athenaeum Fragment 24. Harries, 5. 73 See Harries and Kenshur for detailed discussions of the following.