| Bemerkung(en): |
Description based upon print version of record Acknowledgements; Contents; Introduction; 1 Musico-Poetic Intermediality; 1.1 Terminology, Theories, and State of Research; 1.2 Intermedial Approaches to Amy Lowell's Poetry; 1.2.1 Imagine Media! (Inter)Medial Conceptualization; 1.2.2 Music Into Text: Intermedial Translation; 1.2.3 Dissolving Media: Modal Intersections; 1.3 Intermedial Perspectives: Amy Lowell Revisited; 2 Music Abstracted: A Romantic Ideal of Music in "A Dome of Many-Coloured Glass"; 2.1 Harmony and the Ideal of Unity; 2.2 Beating Eternity: Time and Metaphysics; 2.3 Lowell's Songbirds: Nature as Creative Inspiration 3 The Silence Almost is a Sound: Sonic Representation from Synesthesia to Noise3.1 Synestesia or Intersensoriality?; 3.2 How Still it is! The Absence of Sound; 3.3 The Restlessness of an Incongruous Century: Silencing the Noises of Modernity; 3.4 Nocturnal Silence; 4 The Music of Imagism; 4.1 Impressionism, Haiku, and the Superimposition of Images; 4.2 A Constant Modulation of Values: Free Verse and Musical Rhythm; Example 1: Claude Debussy, "Poissons d'Or," b. 1-6; Example 2: Debussy, "Poissons d'Or," b.30-1st beat of b. 31; 4.3 The Image of (Musical) Impressionism 5 Polyphonic Prose and the Allegory of War5.1 Intrusion and Confusion: War Pictures; 5.2 The Complexities of Human Contact: Can Grande's Castle; 5.2.1 Identity and Synthesis; 5.2.2 Time and Space; 5.2.3 Chaos and Structure; 6 Translating Music, Translating Culture: Lowell's Grotesque (and) Primitivism; 6.1 Amy Lowell and the Grotesque; 6.2 From Eccentricity to Melancholy: Pierrot Lunaire turns Gothic; Example 3: Igor Stravinsky, Three Pieces no. 2, "Excentrique," b. 13-14; Example 4: Stravinsky, "Excentrique," b. 31-33; Example 5: Stravinsky, "Excentrique," opening, b. 1-3 Example 6: Stravinsky, "Excentrique," b. 4-56.3 After Hearing a Waltz by Bartók; Example 7: Béla Bartók, "Valse," opening, b. 1-7; Example 8: Bartók, "Valse," b. 27-28; Example 9: Bartók, "Valse," b. 83-86; Example 10: Bartók, "Valse," b. 45-64; Example 11: Bartók, "Valse," b. 128-150; Example 12: Bartók, "Valse," b. 37-43; 6.4 Amy Lowell's Peasant Dance: Translating Stravinsky's Primitivism; Example 13: Stravinsky, Three Pieces no. 1, "Danse," b. 1-10; Example 14: Stravinsky, "Danse," violin and cello opening motif, b .1; 6.5 Intermedial Translation as Cultural Translation 7 Music as a Culturar Signifier7.1 The Value of Music: Negotiating Cultural Validity; 7.2 Music, Gender, and Sexual Desire; Conclusion; Bibliography; Archival Documents; Index; |
