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

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

Instead of strong 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 of a practice thriving on anti-Aristotelian rules: motley collections, crumbling ruins genuine or faux, enormous 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 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 via 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 break 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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Debussy and the Fragment (Chiasma 18)

Instead of strong frames, a few under ideal aesthetic items have permeable membranes which enable them to diffuse easily into the typical international. within the parallel universes of song and literature, Linda Cummins extols the poetry of such imperfection. She locations Debussy's paintings inside a convention thriving on anti-Aristotelian ideas: motley collections, crumbling ruins genuine or faux, massive hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, beside the point digressions, auto-quotations.

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He wrote: If I had written to seek the world’s favor, I should have bedecked myself better, and should present myself in a studied posture. I want to be seen here in my simple, natural, ordinary fashion, without straining artifice; for it is myself that I portray. 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.

Julius writes to Lucinde in the opening section of the novel, “Confessions of a Blunderer”: No purpose, however, is more purposeful for myself and for this work, for my love for it and for its own structure, than to destroy at the very outset all that part we call “order,” remove it, and claim explicitly and affirm actually the right to a charming confusion. This is all the more necessary since writing about our life and love in the same systematic and progressive way we experienced them would make this unique letter of mine insufferably unified and monotonous, so that it would no longer be able to achieve what it should and must achieve: namely the re-creation and integration of the most beautiful chaos of sublime harmonies and fascinating pleasure.

4. 86 Friedrich Schlegel’s Lucinde and the Fragments, 143. 87 Steven Paul Scher, “Hoffmann and Sterne: Unmediated Parallels in Narrative Method,” Comparative Literature, 28 (1976): 309-25; Eric A. Blackall, The Novels of the German Romantics (Ithaca: Cornell University Press, 1983), 66-67, 276. 48 Debussy and the Fragment married) and the birth of their child. The work is far from a chronological narrative or comprehensive story; it is a sequence of atemporal images (only the central episode, “Apprenticeship for Manhood,” is chronological) with virtually no plot, and is concerned with the internal workings of the mind rather than external matters, with reflection on events rather than events themselves.

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