By Linda Cummins
Instead of good frames, a few lower than ideal aesthetic items have permeable membranes which permit 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 areas Debussy's paintings inside a convention thriving on anti-Aristotelian ideas: motley collections, crumbling ruins genuine or pretend, vast 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 unusually ubiquitous aesthetic of the incomplete, negatively silhouetted opposed to expectancies of rational coherence. Theories popularized through Schlegel and embraced via 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 unearths 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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Extra resources for Debussy and the Fragment (Chiasma 18)
36 Montaigne, Essais III:9, Complete Works, 736. Chapter 1: Ruins of Convention; Conventions of Ruin 31 series of disconnected wanderings of the mind. As the works themselves form a grotesque around the absent center/subject— Montaigne himself—so the individual writings form a grotesque around the central topic announced by each title. Our actions are nothing but a patchwork. ”39 Like Petrarch, Montaigne’s fragments may acknowledge the inadequacy of memory and the ruin of time on both the physical document and its interpretation.
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. 64 The chivalric romance, the mores of Renaissance Spain, mean little to us today; our Don Quixote is still a sympathetic rebel, but now he sings his impossible dreams to full orchestral accompaniment.
Both are presented in aphoristic format—in short sections separated by blank spaces. Kenshur credits Montaigne’s Essais and the ancient Greek and Roman collections of aphorisms as models for both. These more 71 Harries, 2, citing Friedrich Schlegel, Athenaeum Fragment 24. Harries, 5. 73 See Harries and Kenshur for detailed discussions of the following. 74 Kenshur, 38-54. 72 44 Debussy and the Fragment recent works are concerned with the interpretation of the outside world through scientific method, and with recording those interpretations.