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

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

Instead of strong frames, a few lower than excellent aesthetic gadgets have permeable membranes which enable them to diffuse without problems into the typical international. 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 actual or faux, huge 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 way of Schlegel and embraced by way of 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 advent bankruptcy 1: Ruins of conference; Conventions of damage bankruptcy 2: Beginnings and Endings bankruptcy three: Arcadias and Arabesques bankruptcy four: The cartoon bankruptcy five: Auto-Quotation bankruptcy 6: Preludes: A Postlude Bibliography

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As Kenshur notes, Cervantes plays on the components of the romance that were singled out when critics compared the romance to the ideal epic: though both are episodic, multiple plots and digression are the elements that Cervantes highlights and expands,60 the elements he takes to excess. Don Quixote is monstrous, as over-filled with digression as Gargantua is over-sized. 61 Where Rabelais began Gargantua with a text missing the beginnings of lines, Cervantes opens Don Quixote with a poem written in versos de cabo roto, verses in which the final unstressed syllable of each line is omitted, for the reader to supply; the poem is the first of his fake preliminary endorsements.

100 Against the disorder of this bizarre mixture of incomplete, miniature genres on wide-ranging topics, Schlegel raises the expectation of plan, system—unity—through the tension he creates between the aphorism as a complete statement and the incompletion of the fragment, between the fragment’s right to stand on its own and its need to reach out both to other members of the collection (some containing content that will contradict, others that will confirm) and outside the work itself to the external knowledge and experiences of the reader.

The Don’s duplicates and the manuscripts that are the sources for them are fragments of replication and destroyers of true origin. 63 Within this frame of fragmented and duplicated texts, Cervantes draws on an encyclopedic array of literary fragmenting techniques: temporal paradoxes and inconsistencies, mixed styles, borrowing and quotation, repetition, multiple perspectives, authorial intrusion, digressions that range from interpolated stories to related asides—and the famous digressions that condemn digression.

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