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Głos kompozytora w wierszu : o podmiotowości cyklu "Les Nuits d’Eté" Hectora Berlioza do słów Théophile'a Gautier
A voice on uniqueness : on poetic-musical subjectivity of. H. Berlioz’s "Summer nights" to the lyrics by T. Gautier
muzyka
poezja
Hector Berlioz
Théophile Gautier
music
poetry
Hector Berlioz
Théophile Gautier
Streszcz. po ang. Recenzowane materiały z konferencji naukowej: Oblicza Narcyza : obecność autora w dziele, dn. 17-19 października 2007 r., Kraków. Strona wydawcy: https://www.wuj.pl
In the Ovid’s story, Narcissus recognizes himself by identifying his "I" with an image which he conceives as his own refl ection. Th e mirror overwhelms and remains silent: the tone of words does not refl ect on the surface of water, no sound interrupts the identity monologue of Narcissus. The domain of voice belongs to Echo. Punished by Iuno for linguistic manipulations and sentenced to eternal repeating someone else’s words, the nymph retains a surprising ability to shape their sense without changing a "letter". Sentences which Narcissus directs to her mean exclusion repeated by Echo’s voice and become lover’s confession. In 1841 Hector Berlioz selected and included in the score which he was writing, several verses from the volume Comédie de la mort by Teophil Gautier. The words of the poet were adopted by the composer in an almost unchanged form, however the text changed its meaning. The meaning of the new, poetic-musical discourse was shaped by confrontation of the rhythms of the poetic discourse with musical rhythms of the composer, whose experiments in this domain were recorded and described years ago by shrewd Carl Dahlhaus. Combined into a musical cycle, the poems entitled Les Nuits d’Ete and signed by Berlioz start to delicately draft the plot of the story which the composer supported a posteriori by his biographers, turned into one more fragment-mirror of his autobiographical creation. Victor Hugo (in vain) made it clear that he objected to composing music to his poems. Teophil Gautier, consciously and discreetly remained silent.
dc.abstract.en | In the Ovid’s story, Narcissus recognizes himself by identifying his "I" with an image which he conceives as his own refl ection. Th e mirror overwhelms and remains silent: the tone of words does not refl ect on the surface of water, no sound interrupts the identity monologue of Narcissus. The domain of voice belongs to Echo. Punished by Iuno for linguistic manipulations and sentenced to eternal repeating someone else’s words, the nymph retains a surprising ability to shape their sense without changing a "letter". Sentences which Narcissus directs to her mean exclusion repeated by Echo’s voice and become lover’s confession. In 1841 Hector Berlioz selected and included in the score which he was writing, several verses from the volume Comédie de la mort by Teophil Gautier. The words of the poet were adopted by the composer in an almost unchanged form, however the text changed its meaning. The meaning of the new, poetic-musical discourse was shaped by confrontation of the rhythms of the poetic discourse with musical rhythms of the composer, whose experiments in this domain were recorded and described years ago by shrewd Carl Dahlhaus. Combined into a musical cycle, the poems entitled Les Nuits d’Ete and signed by Berlioz start to delicately draft the plot of the story which the composer supported a posteriori by his biographers, turned into one more fragment-mirror of his autobiographical creation. Victor Hugo (in vain) made it clear that he objected to composing music to his poems. Teophil Gautier, consciously and discreetly remained silent. | pl |
dc.affiliation | Wydział Polonistyki | pl |
dc.contributor.author | Wojda, Aleksandra - 255693 | pl |
dc.contributor.editor | Korytowska, Maria - 129160 | pl |
dc.contributor.editor | Puchalska, Iwona - 131586 | pl |
dc.contributor.editor | Siwiec, Magdalena - 131889 | pl |
dc.date.accessioned | 2019-01-29T18:18:08Z | |
dc.date.available | 2019-01-29T18:18:08Z | |
dc.date.issued | 2008 | pl |
dc.date.openaccess | 132 | |
dc.description.accesstime | po opublikowaniu | |
dc.description.additional | Streszcz. po ang. Recenzowane materiały z konferencji naukowej: Oblicza Narcyza : obecność autora w dziele, dn. 17-19 października 2007 r., Kraków. Strona wydawcy: https://www.wuj.pl | pl |
dc.description.physical | 609-619 | pl |
dc.description.publication | 0,51 | pl |
dc.description.version | ostateczna wersja wydawcy | |
dc.identifier.isbn | 978-83-233-2556-7 | pl |
dc.identifier.project | ROD UJ / OP | pl |
dc.identifier.uri | https://ruj.uj.edu.pl/xmlui/handle/item/67063 | |
dc.language | pol | pl |
dc.language.container | pol | pl |
dc.pubinfo | Kraków : Wydawnictwo Uniwersytetu Jagiellońskiego | pl |
dc.rights | Dozwolony użytek utworów chronionych | * |
dc.rights.licence | Inna otwarta licencja | |
dc.rights.uri | http://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf | * |
dc.share.type | otwarte repozytorium | |
dc.subject.en | music | pl |
dc.subject.en | poetry | pl |
dc.subject.en | Hector Berlioz | pl |
dc.subject.en | Théophile Gautier | pl |
dc.subject.pl | muzyka | pl |
dc.subject.pl | poezja | pl |
dc.subject.pl | Hector Berlioz | pl |
dc.subject.pl | Théophile Gautier | pl |
dc.subtype | Article | pl |
dc.title | Głos kompozytora w wierszu : o podmiotowości cyklu "Les Nuits d’Eté" Hectora Berlioza do słów Théophile'a Gautier | pl |
dc.title.alternative | A voice on uniqueness : on poetic-musical subjectivity of. H. Berlioz’s "Summer nights" to the lyrics by T. Gautier | pl |
dc.title.container | Oblicza Narcyza : obecność autora w dziele | pl |
dc.type | BookSection | pl |
dspace.entity.type | Publication |