By Cummins, Linda; Debussy, Claude; Debussy, Claude
Instead of strong frames, a few below ideal aesthetic items have permeable membranes which enable them to diffuse without problems into the standard international. within the parallel universes of song and literature, Linda Cummins extols the poetry of such imperfection. She locations Debussy's paintings inside of a practice thriving on anti-Aristotelian rules: motley collections, crumbling ruins actual or faux, giant 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 earlier looking for the strangely ubiquitous aesthetic of the incomplete, negatively silhouetted opposed to expectancies of rational coherence. Theories popularized by means of Schlegel and embraced by way of 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 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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To the extent that each fragment is independent, it destroys unity; to the extent that each relies on other members, or reaches out toward them for completion, it raises the possibility of unity or system; to the extent that each reaches outside the collection itself, it again destroys unity, or posits it outside the collection itself. That tension between part and whole questions the role of the fragment within the collection and subsequently the identify of the collection itself. In Athenaeum Fragment 53 Schlegel wrote: “It’s equally fatal for the mind to have a system and to have none.
Rarely, if ever, does one of Schlegel’s little hedgehogs, no matter how “isolated … and 96 This list is expanded from Lacoue-Labarthe and Nancy, 40. Firchow, introduction to Friedrich Schlegel’s Lucinde and the Fragments, 16. 98 Friedrich Schlegel’s Lucinde and the Fragments, 170. ”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 German translation of Chamfort’s Pensées provided an immediate inspiration, though Schlegel certainly had a rich store of other 93 On Incomprehensibility, Friedrich Schlegel’s Lucinde and the Fragments, 261. Firchow, introduction to Friedrich Schlegel’s Lucinde and the Fragments, 38. 95 See Balachandra Rajan, The Form of the Unfinished: English Poetics from Spenser to Pound (Princeton: Princeton University Press, 1985); Marjorie Levinson, The Romantic Fragment Poem: A Critique of a Form (Chapel Hill: The University of North Carolina Press, 1986); and Thomas McFarland, Romanticism and the Forms of Ruin: Wordsworth, Coleridge, and Modalities of Fragmentation (Princeton: Princeton University Press, 1981) for discussions of such unfinished works and variations on categories of the incomplete.