By Cummins, Linda; Debussy, Claude; Debussy, Claude
Instead of strong frames, a few under excellent aesthetic items have permeable membranes which permit them to diffuse easily 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 convention thriving on anti-Aristotelian rules: motley collections, crumbling ruins actual or faux, great hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, beside the point digressions, auto-quotations. delicate to the intermittences of reminiscence and event and with a prepared ear for ironic intrusion, Cummins attracts the reader into the Western cultural previous looking for the strangely ubiquitous aesthetic of the incomplete, negatively silhouetted opposed to expectancies of rational coherence. Theories popularized through Schlegel and embraced by means of the French Symbolists are just the 1st waypoint on an elaborately illustrated journey achieving again to Petrarch. Cummins meticulously applies the derived effects to Debussy's rankings and unearths 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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Additional info for Debussy and the fragment
Denis Hollier (Cambridge: Harvard University Press, 1994), 249. 36 Montaigne, Essais III:9, Complete Works, 736. Chapter 1: Ruins of Convention; Conventions of Ruin 31 series of disconnected wanderings of the mind. As the works themselves form a grotesque around the absent center/subject— Montaigne himself—so the individual writings form a grotesque around the central topic announced by each title. Our actions are nothing but a patchwork. ”39 Like Petrarch, Montaigne’s fragments may acknowledge the inadequacy of memory and the ruin of time on both the physical document and its interpretation.
36 Montaigne, Essais III:9, Complete Works, 736. Chapter 1: Ruins of Convention; Conventions of Ruin 31 series of disconnected wanderings of the mind. As the works themselves form a grotesque around the absent center/subject— Montaigne himself—so the individual writings form a grotesque around the central topic announced by each title. Our actions are nothing but a patchwork. ”39 Like Petrarch, Montaigne’s fragments may acknowledge the inadequacy of memory and the ruin of time on both the physical document and its interpretation.
Does the mangling of the already imperfect seem less drastic than the ruin of perfection? Like Petrarch, Montaigne wrote to preserve. If he chose his fragmented forms to depict the random workings of the human mind, of his mind specifically, then he collected to preserve that mind, to preserve himself. ”43 Neither Petrarch nor Montaigne could communicate, using an ordered and complete text, the overwhelming nature of his subject— for Petrarch, love; for Montaigne, his own identity. Both used fragments to approach telling what could not be told.
Debussy and the fragment by Cummins, Linda; Debussy, Claude; Debussy, Claude
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