Joyce's music and noise : theme and variation in his writings
著者
書誌事項
Joyce's music and noise : theme and variation in his writings
(The Florida James Joyce series)
University Press of Florida, c1998
- : cloth
大学図書館所蔵 全19件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [135]-144) and index
内容説明・目次
内容説明
This text covers Joyce's writing in terms of music and evaluates the music - its form, kind and technique - in each work. Using Joyce's own rhetoric of theme and variation, the author moves from one character to another, through the poems, fiction and drama, noting improvizations and finding intricate musical patterns throughout the canon. As Joyce's work grows in philosophical complexity, he says, its music becomes more recognizable. In ""Chamber Music"" and part of ""Dubliners"", Joyce at first merely mentions musical title, instruments and forms. In other stories in ""Dubliners"" he alludes to them. His writing in ""A Portrait of the Artist as a Young Man"" begins to approximate musical techniques, and music reflects and dominates its story and characters. By the time of ""Finnegan's Wake"", it replaces both. Within the works, Weaver cites examples of musical augmentation, diminution, harmony, counterpoint and key signatures, showing how the works become more experimental and increasingly dissonant in the manner of avant-garde composers. The author argues that Joyce's characters and works operate between the extremes of order and disorder, harmony and chaos, music and noise, and that these polarities both signal and contribute to the rhetoric within the texts. Finally, he says, Joyce's rhetoric itself becomes music.
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