Esto es una sonata: la intermedialidad musical en la novela y en sus paratextos fuertes
This paper aims to explain the role that paratexts play in novels –and literary works in general– that imitate or reproduce musical patterns, supporting the thesis that they are often decisive for generating a musical reading of a text. A body of works from Spanish and Latin American fiction seldom...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2020 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | español |
| OAI Identifier: | oai:dadun.unav.edu:10171/61838 |
| Acceso en línea: | https://hdl.handle.net/10171/61838 |
| Access Level: | acceso abierto |
| Palabra clave: | Música y literatura Títulos Subtítulos Paratextos Novela musical |
| Sumario: | This paper aims to explain the role that paratexts play in novels –and literary works in general– that imitate or reproduce musical patterns, supporting the thesis that they are often decisive for generating a musical reading of a text. A body of works from Spanish and Latin American fiction seldom explored from this perspective and the conceptual frame developed by Wolf or Petermann constitute the basis for an explanation of the various meanings that titles may acquire. Special attention is paid to the issue of how to understand generic titles as “sonata”, “symphony” or “fugue” when they point out to a musical dimension that is otherwise difficult to justify. Also, it is proposed a distinction between paratexts with a weak or a strong deontic power, as well as the idea that without some kind of thematisation, there is not musical imitation. |
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