LEADER 03659nam 22005892 450 001 9910164058603321 005 20230621141504.0 010 $a1-78138-596-3 010 $a1-78138-729-X 035 $a(CKB)3710000000340260 035 $a(StDuBDS)EDZ0000982857 035 $a(UkCbUP)CR9781781385968 035 $a(OCoLC)900208002 035 $a(MdBmJHUP)muse82841 035 $a(Au-PeEL)EBL4792827 035 $a(CaPaEBR)ebr11333998 035 $a(CaONFJC)MIL990008 035 $a(ScCtBLL)920ce27f-a770-4dcf-b110-b9b271c9feff 035 $a(Au-PeEL)EBL6898683 035 $a(MiAaPQ)EBC4792827 035 $a(MiAaPQ)EBC6898683 035 $a(PPN)266626629 035 $a(EXLCZ)993710000000340260 100 $a20170307d2014|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBorrowed forms $ethe music and ethics of transnational fiction /$fKathryn Lachman$b[electronic resource] 210 1$aLiverpool :$cLiverpool University Press,$d2014. 215 $a1 online resource (viii, 206 pages) $cdigital, PDF file(s) 300 $aTitle from publisher's bibliographic system (viewed on 07 Jul 2017). 311 $a1-78138-030-9 320 $aIncludes bibliographical references (pages 175-206) and index. 330 $aBorrowed Forms examines the use of music by contemporary novelists and critics from across the Francophone, Anglophone, and Hispanophone worlds. Through readings of Nancy Huston, Maryse Conde?, J. M. Coetzee, Assia Djebar, Julio Corta?zar, and other late twentieth-century novelists, the book shows how writers deploy musical strategies to expand the possibilities of the novel in response to the demands of transnational citizenship. The book transcends disciplinary boundaries, to reveal the entanglement of musical and narrative forms in ethical, historical, and political questions.Critics from Mikhail Bakhtin to Edward Said established musical forms as an indispensable framework for understanding the novel. This study argues that the turn to music in late twentieth century fiction is linked to new questions of authority and representation, as writers seek to democratize the novel, to bring marginalized voices into fiction, to articulate increasingly hybrid subjectivities, and to negotiate the conflicting histories of the diverse groups that make up today's multicultural societies. The book traces the influence of four musical concepts on theory and the contemporary novel: polyphony, or the art of combining multiple, equal voices; counterpoint, the carefully regulated setting of one voice against another; variations, the virtuosic exploration of a given theme; and opera, the dramatic setting of a story to a musical score. Borrowed Forms is both a vital reference for all those seeking to understand the influence of music on 20th-century literary theory, and a rigorous and interdisciplinary framework for considering the transnational novel. 606 $aFiction$y20th century$xHistory and criticism$xTheory, etc 606 $aMusic and literature$xHistory$y20th century 606 $aLiterature and transnationalism 606 $aMusic and transnationalism 615 0$aFiction$xHistory and criticism$xTheory, etc. 615 0$aMusic and literature$xHistory 615 0$aLiterature and transnationalism. 615 0$aMusic and transnationalism. 676 $a809.304 700 $aLachman$b Kathryn$0886691 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910164058603321 996 $aBorrowed forms$91980082 997 $aUNINA