Marcel Proust (Paris, 1871 - Paris, 1922) et Eugénio de Andrade (Castelo Branco, 1923 - Porto, 2006) sont deux poètes dont la thématique relève de leur propre expérience et trouve son expression ...privilégiée dans un ensemble d'images, de symboles, de figures poétiques et de récurrences qui se rapportent à un univers mental structuré et dynamique. Structures thématiques ou métaphores obsédantes, elles se manifestent dans les oeuvres des deux auteurs : la mémoire vivante de enfance, les fleurs et la création littéraire, la recherche du temps perdu, l'amour ruiné, le mépris du snobisme et les mythes personnels communs aux deux auteurs, en particulier le mythe du paradis perdu et retrouvé. Ces métaphores obsédantes reposent sur une vision particulière de proposer le monde; vision du monde qui est à la base du style proustien. Or, 'est cette vision que Eugénio de Andrade, en tant que lecteur, garde de Proust et qui a contribué à la construction de son oeuvre poétique moyennant la récupération de quelques modèles proustiens, en particulier la mémoire sensorielle qui nous emporte « hors du temps » et la conception d'art comme vérité du monde.
This dissertation studies the role of music in the twentieth-century French novel. It identifies a tension between Western classical music as a model of (social or aesthetic) harmony and the idea of ...notes taking sides. Novels take sides in debates about music and aesthetics, or explore the contested meanings of music in social/political contexts. I argue that music, as a social phenomenon, allows Romain Rolland (in Jean-Christophe 1904–1912), Louis Aragon (in Les voyageurs de l’impériale 1942) and Marguerite Duras (in Moderato cantabile 1958) to deal with a whole host of social, cultural and political issues, as well as to seek new approaches to the novel at different moments in history. Each writer adopts a particular perspective on music as a site of both harmony and conflict: through the figure of the composer (Rolland), the character of the listener (Aragon), and through music as a formal model (Duras). Via a fictional composer, Rolland theorizes a music that can cross national boundaries, within a novel that—inspired by Wagner’s music—challenges the representational conventions of 19th-century naturalism. Aragon combines a realist representation of the social meanings of music and musical taste, with a social(ist) denunciation of bourgeois decadence and capitalism. While also depicting music’s entanglements with social class, Duras’ Moderato cantabile draws on two overlapping models of music that reflect the writer’s distinctive position within 1950s experimental literature. My study reveals a progressive shift away from the political potential of music toward an individual quest for transcendence—a tendency that will be continued in contemporary musical novels.
In her all too brief career, Lili Boulanger (1893–1918) composed a number of works for which there is proof they existed but which have now disappeared. One of these missing pieces, Marche gaie, ...resurfaced in 2011 in a private collection in North Carolina; the owners of the manuscript are the grandchildren of the work's dedicatee. As Marche gaie was registered with SACEM as a work for chamber orchestra in 1916, we can assume the work was composed in that year. While the manuscript is in an unknown hand, there is musical and circumstantial evidence which, combined with testimony from the family, provides compelling evidence that this is a missing work by Lili Boulanger. The piece is just under four minutes in duration and has been arranged for piano from the short-score manuscript by the author of this article. The article explores the background of the work's dedicatee, Jeanne Leygues, focusing on her family's artistic and political connections. Her marriage to an American who fought in the French Foreign Legion in World War I explains why the score of Marche gaie was discovered in North Carolina. The work's position in Lili Boulanger's output is considered; it shows the influences of Fauré and Chabrier, and is stylistically linked to other short occasional pieces composed by her. A musical quotation (Boulanger was fond of quotation and allusion in her works) shows that the piece must have been composed as a wedding present.
This project is a scenographic exploration and design of Bela Bartok's opera, "Bluebeard's Castle". It includes literary and historical research of the story of Bluebeard and the opera. Multiple ...sources of Bela Bartok's music and productions of the opera were used in the development of this paper and designs for the opera. The scenic, lighting and costume design elements represent the concept of the castle and the mus of "Bluebeard's Castle" as a living and psychological extension of the man himself. Judith enters into the wold and the man at the same time and her journey ends with the tragedy of their souls forever entwined in mutual isolation within the living castle's breathing, crying, and bleeding walls. In addition to the written work, this project included a scenic model, costume renderings, a light plot with the appropriate paperwork to support the designs in each area. Images of the scenic model and costume renderings are included with this submission.
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