Musical Context of Edward Said’s Contrapuntal Reading
The aim of article is to expand the theoretical problematic field of “music in literature” with the ideas of American literary critic, culture critic, music critic and musician Edward Said. These elaborations are part of literary criticism comparative studies and intermediality. Thus, we are discuss...
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Yuriy Fedkovych Chernivtsi National University
2018-06-01
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| Series: | Pitannâ Lìteraturoznavstva |
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| Online Access: | http://pytlit.chnu.edu.ua/article/view/140062 |
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| author | Svitlana Macenka |
| author_facet | Svitlana Macenka |
| author_sort | Svitlana Macenka |
| collection | DOAJ |
| description | The aim of article is to expand the theoretical problematic field of “music in literature” with the ideas of American literary critic, culture critic, music critic and musician Edward Said. These elaborations are part of literary criticism comparative studies and intermediality. Thus, we are discussing the method of contrapuntal reading developed by Edward Said on the basis of reception of music and referencing the creativity of famous composers and musicians. An important principle of crossing boundaries has been singled out, by which the thinker implies the ability music and literature to adapt mutually to each other, to contain and add social structures and change means of expression depending on situations and public, power and sex constellations. It is also noted that for a literary critic it is absolutely natural to provide arguments as to certain poetological aspects of a literary work resorting to regularities of musical art and, vice versa, efficiently employ literary context when discussing musical pieces. Edward Said contributed to change of the perception of opera, which in his interpretation turned into a place of social discourse. It is stressed that contrapuntal reading is characterized, first of all, by a link between an aesthetic concept and a powerful political definition of the direction “contra”, and secondly, by a combination of different forms of art and activity in a single general concept which claims to be metaphoric and methodological at the same time. Separate essays by Edward Said in which he interprets the role of counterpoint have been analyzed, in particular those referring to the creativity of G. Gould. The analysis is based on Edward Said’s essays about music published in Musical Elaborations, 1991 and Music at The Limits, 2007. |
| format | Article |
| id | doaj-art-8f3d8f48ffbd45809f1f533720a7b9df |
| institution | OA Journals |
| issn | 2306-2908 |
| language | English |
| publishDate | 2018-06-01 |
| publisher | Yuriy Fedkovych Chernivtsi National University |
| record_format | Article |
| series | Pitannâ Lìteraturoznavstva |
| spelling | doaj-art-8f3d8f48ffbd45809f1f533720a7b9df2025-08-20T01:58:38ZengYuriy Fedkovych Chernivtsi National UniversityPitannâ Lìteraturoznavstva2306-29082018-06-0109785103140062Musical Context of Edward Said’s Contrapuntal ReadingSvitlana Macenka0Ivan Franko National University of LvivThe aim of article is to expand the theoretical problematic field of “music in literature” with the ideas of American literary critic, culture critic, music critic and musician Edward Said. These elaborations are part of literary criticism comparative studies and intermediality. Thus, we are discussing the method of contrapuntal reading developed by Edward Said on the basis of reception of music and referencing the creativity of famous composers and musicians. An important principle of crossing boundaries has been singled out, by which the thinker implies the ability music and literature to adapt mutually to each other, to contain and add social structures and change means of expression depending on situations and public, power and sex constellations. It is also noted that for a literary critic it is absolutely natural to provide arguments as to certain poetological aspects of a literary work resorting to regularities of musical art and, vice versa, efficiently employ literary context when discussing musical pieces. Edward Said contributed to change of the perception of opera, which in his interpretation turned into a place of social discourse. It is stressed that contrapuntal reading is characterized, first of all, by a link between an aesthetic concept and a powerful political definition of the direction “contra”, and secondly, by a combination of different forms of art and activity in a single general concept which claims to be metaphoric and methodological at the same time. Separate essays by Edward Said in which he interprets the role of counterpoint have been analyzed, in particular those referring to the creativity of G. Gould. The analysis is based on Edward Said’s essays about music published in Musical Elaborations, 1991 and Music at The Limits, 2007.http://pytlit.chnu.edu.ua/article/view/140062the interaction of literature and musicthe principle of crossing boundariesmethod of contrapuntal readingcontrapuntal understandingE. SaidT. MannG. Gould |
| spellingShingle | Svitlana Macenka Musical Context of Edward Said’s Contrapuntal Reading Pitannâ Lìteraturoznavstva the interaction of literature and music the principle of crossing boundaries method of contrapuntal reading contrapuntal understanding E. Said T. Mann G. Gould |
| title | Musical Context of Edward Said’s Contrapuntal Reading |
| title_full | Musical Context of Edward Said’s Contrapuntal Reading |
| title_fullStr | Musical Context of Edward Said’s Contrapuntal Reading |
| title_full_unstemmed | Musical Context of Edward Said’s Contrapuntal Reading |
| title_short | Musical Context of Edward Said’s Contrapuntal Reading |
| title_sort | musical context of edward said s contrapuntal reading |
| topic | the interaction of literature and music the principle of crossing boundaries method of contrapuntal reading contrapuntal understanding E. Said T. Mann G. Gould |
| url | http://pytlit.chnu.edu.ua/article/view/140062 |
| work_keys_str_mv | AT svitlanamacenka musicalcontextofedwardsaidscontrapuntalreading |