Soutenance de thèse de Nathalie Avignon
le 27 novembre 2015
Modèle musical et rêve d’abolition du temps dans le roman contemporain Helmut Krausser, Léonid Guirchovitch, Richard Powers
- Pierre-Yves Boissau, professeur, Université Toulouse - Jean Jaurès
- Caroline Fischer, professeur, Université Pau Pays de l'Adour
- Aude Locati, professeur, Univesité Aix Marseille 1 Provence
- Timothée Picard, professeur, Université Haute Bretagne Rennes 2
- Frédéric Sounac, maître de conférences, Université Toulouse - Jean Jaurès
- Nathalie Vincent Arnaud, professeur, Université Toulouse - Jean Jaurès
Musical model and dream of abolition of time in the contemporary novel
Helmut Krausser Leonid Guirchovitch and Richard Powers.
Music is an art of time, since it gives it its matter. It gives it style and recreates the effects of its process confined in a closed period. However, representations commonly associate the art of sound with an attempt to neglect or even to deny the temporal flow. Accordingly, they fit into an idealistic perspective that makes music a consoling utopia, a soothing balm on a subject beset by internal rifts and rupture with the world – as can be seen in Schopenhauer and Proust after him or, later, in Levi-Strauss. This study aims to examine the future of this conception of musical time in the light of three contemporary novels that seem to illustrate it but also challenge it: Melodien (1993), by the German writer Helmut Krausser, Prajs (1998), the work of Leonid Guirchovitch, a Russian writer, and The Time of Our Singing (2003), by the American novelist Richard Powers (2003). Some elements of the musical language, based primarily on the principles of polyphony and organicity, delineate an aesthetic model (here called “ideal éternitaire”) that these three authors, marked by “compositional” temptation, challenge through intersemiotic transpositions. The analysis then turns into what Paul Ricœur defines as the “fictive temporal experience” to see how the dream of abolishing time associated with a musical subject affects both the intimate time of characters and vast chronosophies of the collective time. Finally the “ideal éternitaire” is in turn immersed in time: discredited by the historical bankruptcies of the twentieth century, it now looks upon itself in the light of postmodern times, ironically bound to refer to its anachronistic share and to confront the German Kultur it comes from with the diversity of musical styles.
- Lieu(x) :
- Université Toulouse Jean Jaurès - Pavillon de la Recherche
Salle R 19 (Lettres)