Esto es una sonatala intermedialidad musical en la novela y en sus paratextos fuertes

  1. Rodrigo Guijarro-Lasheras 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Revista:
RILCE: Revista de filología hispánica

ISSN: 0213-2370

Any de publicació: 2021

Volum: 37

Número: 1

Pàgines: 277-296

Tipus: Article

DOI: 10.15581/008.37.1.277-96 DIALNET GOOGLE SCHOLAR lock_openAccés obert editor

Altres publicacions en: RILCE: Revista de filología hispánica

Resum

This paper aims to explain the role that paratexts play in novels –and literary works in general– that imitate or reproduce musical patterns, supporting the thesis that they are often decisive for generating a musical reading of a text. A body of works from Spanish and Latin American fiction seldom explored from this perspective and the conceptual frame developed by Wolf or Petermann constitute the basis for an explanation of the various meanings that titles may acquire. Special attention is paid to the issue of how to understand generic titles as “sonata”, “symphony” or “fugue” when they point out to a musical dimension that is otherwise difficult to justify. Also, it is proposed a distinction between paratexts with a weak or a strong deontic power, as well as the idea that without some kind of thematisation, there is not musical imitation.

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Fuente de los datos: Dialnet