If, in Paul Valéry ’s own words, Symbolism can be summed up as the poets’ attempt to take back from music what was their own, from poetry to prose, from art to philosophy including the emerging science of phonetics, music pervades an age in which the gap between signifier and signified started to be felt. It is in fact in the years from 1880 to 1990 that Mallarmé’s linguistic experimentation overlapped with experimental phonetics and, at the same time, with the results of the “new narrative formula” which would be later known as interior monologue, that partition of “commas and full stops” in which Joyce’s novel already echoed.
Se il Simbolismo può riassumersi, secondo le parole di Paul Valéry, nel tentativo da parte dei poeti di riprendere alla musica il loro “bene”, dalla poesia alla prosa, dalla pittura alla filosofia e passando per la nascente fonetica, la musica feconda le istanze di un’epoca in cui comincia ad avvertirsi la sfasatura tra significante e significato. Sono infatti gli anni, quelli che vanno dal 1880 al 1990, in cui la sperimentazione linguistica mallarmeana incrocia silenziosamente la fonetica sperimentale e, allo stesso tempo, gli esiti di quella “nuova formula” narrativa che sarà chiamata monologo interiore, quella partizione di “punti e virgole” in cui riecheggia già il futuro romanzo joyciano.
Santone, L. (2015). De la musique avant toute chose". Accordi e risonanze tra le arti nel Simbolismo francese. In M.N. K.G.C. Bravo (a cura di), La cultura del dialogo come percorso verso la pace. Speciale José Antonio Abreu (pp. 155-162). Roma : Aracne.
De la musique avant toute chose". Accordi e risonanze tra le arti nel Simbolismo francese
SANTONE, LAURA
2015-01-01
Abstract
If, in Paul Valéry ’s own words, Symbolism can be summed up as the poets’ attempt to take back from music what was their own, from poetry to prose, from art to philosophy including the emerging science of phonetics, music pervades an age in which the gap between signifier and signified started to be felt. It is in fact in the years from 1880 to 1990 that Mallarmé’s linguistic experimentation overlapped with experimental phonetics and, at the same time, with the results of the “new narrative formula” which would be later known as interior monologue, that partition of “commas and full stops” in which Joyce’s novel already echoed.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.