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Sounding out :Musical ekphrasis, sexuality, and the writings of Willa Cather.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sounding out :
Reminder of title:	Musical ekphrasis, sexuality, and the writings of Willa Cather.
Author:	Kozak, Romy.
Description:	332 p.
Notes:	Adviser: Terry Castle.
Notes:	Source: Dissertation Abstracts International, Volume: 64-11, Section: A, page: 4046.
Contained By:	Dissertation Abstracts International64-11A.
Subject:	Literature, Modern.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3111740
ISBN:	049659270X

Sounding out :Musical ekphrasis, sexuality, and the writings of Willa Cather.
Kozak, Romy.

Sounding out :Musical ekphrasis, sexuality, and the writings of Willa Cather. [electronic resource] - 332 p.

Adviser: Terry Castle.

Thesis (Ph.D.)--Stanford University, 2004.

"Sounding Out. Musical Ekphrasis, Sexuality and the Writings of Willa Cather" offers an interdisciplinary study of how the use of music in literary texts relates to the representation of sexuality. Noting the recurrent turn to music in the texts of reputedly queer authors, it attempts to complicate the verbally based speech-silence binary assumed by most post-structuralist queer theorists by factoring in the concept of music. At the same time, remarking on the difficulties encountered by feminist and queer musicology in attempting to deconstruct the notion of 'music itself', it argues that approaching music "ekphrastically," as a thoroughly constructed textual entity, offers an important way of furthering postmodern musicological discussion. The opening two chapters of the dissertation provide a theoretical and historical background to these arguments: the first traces the development of absolute music's paradoxical capacity for expressing the unutterable and proposes "fictional music" as a useful way of figuring this ambivalence; the second draws connections between the conceptual constructions of absolute music and sexuality in preparation for positing a significant resonance between the verbally unutterable and the sexually unspeakable. The third and final chapter attempts a textual enactment of these ideas by way of an extended close reading of Willa Cather's critical commentary and autobiographical Kunstlerroman, The Song of the Lark. Neither simply an indication of spiritual transcendence nor the voice of a forbidden sexual identity, music in Cather's writing signifies sexual desire inscribed in the text only as an articulation of ongoing muteness. Sexuality may sound out, in effect, on condition of remaining obscured in a verbal epistemological closet.

ISBN: 049659270XSubjects--Topical Terms:

180518
Literature, Modern.

Sounding out :Musical ekphrasis, sexuality, and the writings of Willa Cather.
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502 $a Thesis (Ph.D.)--Stanford University, 2004.
520 # $a "Sounding Out. Musical Ekphrasis, Sexuality and the Writings of Willa Cather" offers an interdisciplinary study of how the use of music in literary texts relates to the representation of sexuality. Noting the recurrent turn to music in the texts of reputedly queer authors, it attempts to complicate the verbally based speech-silence binary assumed by most post-structuralist queer theorists by factoring in the concept of music. At the same time, remarking on the difficulties encountered by feminist and queer musicology in attempting to deconstruct the notion of 'music itself', it argues that approaching music "ekphrastically," as a thoroughly constructed textual entity, offers an important way of furthering postmodern musicological discussion. The opening two chapters of the dissertation provide a theoretical and historical background to these arguments: the first traces the development of absolute music's paradoxical capacity for expressing the unutterable and proposes "fictional music" as a useful way of figuring this ambivalence; the second draws connections between the conceptual constructions of absolute music and sexuality in preparation for positing a significant resonance between the verbally unutterable and the sexually unspeakable. The third and final chapter attempts a textual enactment of these ideas by way of an extended close reading of Willa Cather's critical commentary and autobiographical Kunstlerroman, The Song of the Lark. Neither simply an indication of spiritual transcendence nor the voice of a forbidden sexual identity, music in Cather's writing signifies sexual desire inscribed in the text only as an articulation of ongoing muteness. Sexuality may sound out, in effect, on condition of remaining obscured in a verbal epistemological closet.
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