Debussy and the Fragment (Chiasma 18) by Linda Cummins

By Linda Cummins

Instead of strong frames, a few under ideal aesthetic gadgets have permeable membranes which enable them to diffuse without difficulty into the typical international. within the parallel universes of tune and literature, Linda Cummins extols the poetry of such imperfection. She areas Debussy's paintings inside a practice thriving on anti-Aristotelian ideas: motley collections, crumbling ruins actual or faux, colossal 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 willing ear for ironic intrusion, Cummins attracts the reader into the Western cultural previous looking for the unusually 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 journey attaining again to Petrarch. Cummins meticulously applies the derived effects to Debussy's rankings and reveals convincing correlations during this chiasmatic crossover. CONTENTS advent 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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Debussy and the Fragment (Chiasma 18)

Instead of stable frames, a few below excellent aesthetic gadgets have permeable membranes which enable them to diffuse without problems into the standard international. within the parallel universes of tune 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 actual or faux, huge hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, inappropriate digressions, auto-quotations.

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94 Chapter 1: Ruins of Convention; Conventions of Ruin 51 examples including the aphorism collections of the ancients, the essays of Montaigne, the writings of Pascal and La Rochefoucault, the collection of “Fragmente” included in Herder’s Über die neuere deutsche Literatur (1767). 96 In the Athenaeum Fragments in particular, Schlegel presented a disconnected stream of ideas in widely varying lengths and forms, some contributed by other writers (August Wilhelm Schlegel, Schleiermacher, Novalis): in addition to individual fragments that are in length similar to aphorisms, Schlegel included what he termed condensed essays and reviews,97 and mini-dialogues posed as a single question and a reply.

Rae Beth Gordon, Ornament, Fantasy, and Desire in Nineteenth-Century French Literature (Princeton: Princeton University Press, 1992). 116 Lautréamont, Poésies II, in Lautréamont and Germain Nouveau, Oeuvres complètes, ed. Pierre-Olivier Walzer (Paris: Éditions Gallimard, 1970), 273-92. 56 Debussy and the Fragment à mon sujet, si je le traitais avec ordre, puisque je veux montrer qu’il en est incapable. [I will write my thoughts here without order, and not, perhaps, in a confusion without design: this is the true order, and this will always mark my object with disorder itself.

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. Ulrich Weisstein (Bloomington: Indiana University Press, 1963), 19. The function of these grotesques was decorative: profuse linear designs formed borders around a series of small portraits. The content was fanciful: vegetation merged into both composite creatures—creatures made of assembled parts that do not belong together in nature—and other constructions that defied natural laws.

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