| Description |
1 online resource : text file, PDF |
| Contents |
Cover; Endorsement; Half title page; Title Page; Copyright Page; Dedication; Table of contents; Figures; Acknowledgements; Introduction; Notes; 1 Music and literature; A roaring start; Music and literature interaction; Music and the literary diegesis; Music as structural device in literature; The sounding of text; The growth of Word and Music Studies; Notes; 2 Repetition in music and literature; Repetition in music; Repetition in experimental music; Repetitions in literature; Notes; 3 Musico-literary interaction in modern Ireland and the musical aesthetic of Samuel Beckett |
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Music and metaphor in Beckettâ#x80;#x99;s early fictionNotes; 4 Beckettâ#x80;#x99;s semantic fluidity: Repetition in the later work; Beckettâ#x80;#x99;s later Schopenhauerian music; Close reading No. 1 from Ill Seen Ill Said; 1. Exact clothed repetitions; 2. Local musematic repetition; 3. Binary oppositional repetitions; 4. Discursive repetition recurring throughout Ill Seen Ill Said; Close reading no. 2 from Ill Seen Ill Said; Close reading from Worstward Ho; Conclusion; Notes; 5 Beckett and Feldman: Time, repetition and the liminal space; Neither; Neither, V2; Neither, V3; The nine-note interlocking texture |
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Words and MusicConclusion; Notes; 6 Improvising Beckett: Chance, silence and repetition; Lessness; Silence and indeterminacy; Beckettâ#x80;#x99;s Not I; Binary oppositions; Discursive repetitions; Notes; Conclusions; Notes; Bibliography; Websites; Discography |
| Summary |
"Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce's "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett's Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett's later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer's philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett's writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalised fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both modernist music and literature of the twentieth century, John McGrath's book is a significant contribution to the field of Word and Music Studies."--Provided by publisher |
| Subject |
Beckett, Samuel, 1906-1989 -- Criticism and interpretation
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| SUBJECT |
Beckett, Samuel, 1906-1989 fast |
| Subject |
Music and literature.
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Music -- 20th century -- History and criticism.
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Repetition in literature.
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Repetition in music.
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Repetition (Rhetoric)
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Repetition (Rhetoric)
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Music
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Music and literature
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Repetition in literature
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Repetition in music
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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| ISBN |
9781315607566 |
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1315607565 |
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