Oxford Modern Language and Literature Monographs – serie
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To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. It is to enquire what dynamics texts develop as they strive to 'say the unsayable', and it is to think literature as a silence that speaks itself. This study describes these literary and silent dynamics through readings of Pascal's Pensées, Rousseau's Rêveries, and Beckett's trilogy Molloy, Malone meurt, and L'Innommable. It contributes to our understanding of three major writers and challenges our idea of what silence is. The subject of silence and of the ineffable has a long philosophical and critical tradition. A careful study of this tradition reveals the dominance of a limiting dualistic understanding of silence and its relationship to noise or language: silence becomes the negative other, the beyond, about which there remains nothing to say. The study of literary silence seeks rather to trace a language that becomes its own silence. It compromises the attempt to think a silence that moves within and through texts, that is inherent to the literary expression. Central to this theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer, and Vattimo (among several others).The theoretical understanding of silence permits an effective methodology for reading literary silence. Notions of repetition, the aporia and the implosion, which are developed in reference to Kierkegaard and Bataille, describe textual strategies of literary silence and structure the readings. Finally, the reading of literary silence has its point of reference in writers like Mallarmé, Blanchot, and Beckett. It is their texts that have taught us to become topological readers, to move in and out of texts' movements; they have shown us how the literary expression is irreducible to linear, meaning oriented language. As readers of such texts we have been prepared to read the dynamics of the unsayable, and finally to start discerning the silences of the literary.
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This book constructs a new approach to the interdisciplinary study of music and poetry by examining a series of encounters between Mallarmé and Debussy. It challenges the easy metaphorical impressionism that has dominated much of the scholarly literature to date. It seeks to express in a set of analytical terms both the coherence and the affront to coherence that are fundamental to our inter-art experience.In a fresh reading of the famous lecture La Musique et les Lettres, Elizabeth McCombie argues that Mallarmé's poetic theory creates an architecture for the cohabitation of music and letters. She proposes his ornamental figures of arabesque and thyrsus as performative structural motifs through which the musico-poetic aesthetic is enacted in his text.Using this interpretation of Mallarmé's vision, McCombie places works by both artists alongside one another as case studies. Each becomes a filter for the other to reveal an intermediary ground defined by the specific and precise analyses of both arts. The studies develop more conceptual motifs, either from external models or from transferable elements in the Mallarméan text. The new terminology (arabesque, éclat, enroulement, éventail, explosante fixe, Möbius strip, pli, and thyrsus) foregrounds rhythmic relations of time and space; it generates, in the author's words, a poetics of hesitation.McCombie offers a model for rereading Mallarmé's notoriously elusive late verse and prose and for reassessing views commonly held about the work of both artists. But the potential of this relational discourse for literary and musical study reaches beyond Mallarmé and Debussy. The apparatus of figures derived here provides a powerful tool of inter-art investigation, a necessary supplement to the individual criticisms of music and poetry, and a new critical vocabulary for illuminating modernism.