Głos kompozytora w wierszu : o podmiotowości cyklu "Les Nuits d’Eté" Hectora Berlioza do słów Théophile'a Gautier

Głos kompozytora w wierszu : o podmiotowości cyklu "Les Nuits d’Eté" Hectora Berlioza do słów Théophile'a Gautier

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Głos kompozytora w wierszu : o podmiotowości cyklu "Les Nuits d’Eté" Hectora Berlioza do słów Théophile'a Gautier

Bibliographic description

title:	Głos kompozytora w wierszu : o podmiotowości cyklu "Les Nuits d’Eté" Hectora Berlioza do słów Théophile'a Gautier
alternative title:	A voice on uniqueness : on poetic-musical subjectivity of. H. Berlioz’s "Summer nights" to the lyrics by T. Gautier
author:	Wojda Aleksandra
editor:	Korytowska Maria , Puchalska Iwona , Siwiec Magdalena
book title:	Oblicza Narcyza : obecność autora w dziele
date of publication :	2008
place of publication : name of publisher:	Kraków : Wydawnictwo Uniwersytetu Jagiellońskiego
pages:	609-619
ISBN:	978-83-233-2556-7
notes:	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
language:	Polish
book language:	Polish
abstract in English:	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.
keywords in Polish:	muzyka, poezja, Hector Berlioz, Théophile Gautier
keywords in English:	music, poetry, Hector Berlioz, Théophile Gautier
number of pulisher's sheets:	0,51
affiliation:	Wydział Polonistyki
type:	chapter
subtype:	academic paper