000			03433cmm a2200421 i 4500
001			a411176
008			100727s2008 xxu s 000 0 eng d
009			411176
035			_a1459137661
040			_aFRAS _bfre _cFRAS _dFRAS _eAFNOR
043			_af-ae---
072			_aOM
082	0	4	_aDZ843.209 _223E
084			_a843.DZ
095			_axxu
094			_aTH-USA
100	1		_aLachman, Kathryn M. _eDoctorant _4305 _9351350
245	1	4	_aThe music of voice _h[Ressource électronique] : _btransnational encounters between music, theory and fiction / _cKathryn M. Lachman ; advisor Thomas Trezise
300			_a(169 p.)
502			_aPh. D. : French : Faculty of Princeton University : 2008
504			_aBibliogr. p. 151-162
520			_aThe Music of Voice examines the influence of music on twentieth-century literary theory and fiction. Bringing contemporary novels into dialogue with Said's notion of counterpoint, Bakhtin's metaphorical polyphony, and other critical theories, this dissertation reevaluates authorial voice and its entanglements in aesthetic and political questions. I consider how select works by three major novelists-Assia Djebar, Maryse Condé, and J. M. Coetzee-deploy musical elements as part of a complex, transnational engagement with multiple traditions and a virtuosic experimentation with narrative form. In an extended introduction, I reassess the relevance of the terms "postcolonial," "francophone," "littérature monde," and "transnational" to this unique grouping of authors in the context of current debates. I then define my approach to the question of "voice." Each subsequent chapter frames an encounter between theory, literature and a particular musical form: polyphony, counterpoint and opera. In Chapter One, I examine the implications of Bakhtin's theory of polyphony for postcolonial literatures, and demonstrate how Condé challenges the very possibility of literary polyphony in her novel, Traversée de la Mangrove (1989). I argue that the misapplication of Bakhtin's notion of polyphony has obscured our understanding of ethics and representation, and muted the social critique present in many postcolonial texts. In Chapter Two, I use Edward Said's contrapuntal method to draw out the diverging voices in Djebar's Les Nuits de Strasbourg (1997). I call attention to the politics that underpin Said's theory, and reground it in a musical and historical specificity. Finally, in Chapter Three, I examine Coetzee's treatment of music in relation to his interrogation of voice and narrative authority. I focus in particular on how the opera in Disgrace (1999) disrupts the narrative and models an approach to alterity. Throughout these readings, I seek to resituate music and language in relation to the demands of history, ethics and politics.
600	1	4	_aDjebar, Assia _d(1936-2015) _920693
600	1	4	_aCondé, Maryse _d(1937-....) _964452
600	1	4	_aCoetzee, John Maxwell _d(1940-....) _996333
650		7	_aLITTERATURE MAGHREBINE D'EXPRESSION FRANCAISE _2 _927695
650		4	_aROMAN _92633
650		4	_aMUSIQUE _92857
651		4	_aALGERIE _91263
700	1		_aTrezise, Thomas _eDir. _4727 _962991
856			_uhttp://www.fondation.org.ma/dsp/index/a411176-26
930			_a411176
931			_aa411176
990			_aEl Basri
600	1	9	_aجبار، آسية _d(1936-2015)
600	1	9	_aكوندي، ماريز _d(1937-....)
999			_c523926 _d523926