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Title:Musical metaphors in the poetry of Wallace Stevens
Authors:ID Kennedy, Victor (Author)
Files:.pdf ELOPE_2016_Kennedy_Musical_Metaphors_in_the_Poetry_of_Wallace_Stevens.pdf (158,87 KB)
MD5: B81AD4057500CEF0DB774CB356AE0075
 
URL http://revije.ff.uni-lj.si/elope/article/view/6136
 
Language:English
Work type:Article
Typology:1.01 - Original Scientific Article
Organization:FF - Faculty of Arts
Abstract:Wallace Stevens's "The Man with the Blue Guitar" (1937) is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso's painting The Old Guitarist, the poem in turn inspired Michael Tippett's sonata for solo guitar, "The Blue Guitar" (Tippett 1983) and David Hockney's The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977). Central to "The Man with the Blue Guitar," the metaphor of the musical instrument as a transformational symbol of the imagination is common in Stevens's poems. The structure of "The Man with the Blue Guitar," according to J. Hillis Miller, is the structure of stream-of-consciousness. Stevens's poem creates what has been called "the deconstructed moment in modern poetry," "an attempt to project a spatialized time that can be viewed from the privileged position of a timeless, static moment capable of encompassing a life at a glance" (Jackson 1982). This consciousness, which Derrida refers to as the "trace," Stevens calls "the evasive movement of language." The trace is the perception of the absence of meaning after the word or perception has passed, the glimpse of a hidden meaning that immediately vanishes. Stevens's poem influenced not only other poets, artists and composers; references to and echoes of his ideas and techniques can be seen in popular music and culture well into the 21st century.
Keywords:Wallace Stevens, musical metaphor, ekphrasis, The Man with the Blue Guitar
Publication status:Published
Publication version:Version of Record
Year of publishing:2016
Number of pages:str. 41-58
Numbering:Letn. 13, št. 1
PID:20.500.12556/DKUM-65703 New window
ISSN:1581-8918
UDC:821.111(73).09-1Stevens W.
ISSN on article:1581-8918
COBISS.SI-ID:22349832 New window
DOI:10.4312/elope.13.1.41-58 New window
NUK URN:URN:SI:UM:DK:SXMDBOHC
Publication date in DKUM:16.05.2017
Views:1757
Downloads:504
Metadata:XML DC-XML DC-RDF
Categories:Misc.
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Record is a part of a proceedings

Title:Words and music
Editors:Nada Šabec
COBISS.SI-ID:285144832 New window

Record is a part of a journal

Title:ELOPE : English language overseas perspectives and enquiries
Shortened title:ELOPE
Publisher:Slovensko društvo za angleške študije, Slovensko društvo za angleške študije, Znanstvena založba Filozofske fakultete Univerze v Ljubljani, Založba Univerze v Ljubljani
ISSN:1581-8918
COBISS.SI-ID:212890112 New window

Licences

License:CC BY-SA 4.0, Creative Commons Attribution-ShareAlike 4.0 International
Link:http://creativecommons.org/licenses/by-sa/4.0/
Description:This Creative Commons license is very similar to the regular Attribution license, but requires the release of all derivative works under this same license.
Licensing start date:16.05.2017

Secondary language

Language:Slovenian
Title:Glasbene metafore v poeziji Wallacea Stevensa
Abstract:“The Man with the Blue Guitar” (1937) pesnika Wallacea Stevensa velja za eno najpomembnejših in najvplivnejših pesmi 20. stoletja. Navdih zanjo je dobil pri Picassovi sliki Stari kitarist. Wallaceova pesem je navdihnila Michaela Tipetta, da je napisal sonato za solo kitaro “The Blue Guitar” (1983) in Davida Hockneya, ki je napisal The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney in Stevens 1977). Osrednje mesto v pesmi “The Man with the Blue Guitar” – in tudi sicer v Stevensovi poeziji – zavzema metafora glasbenega instrumenta kot transformacijskega simbola domišljije. Glede na strukturo je pesem, po J. Hillsu Millerju, primer poezije toka zavesti. Stevens z njo ustvari to, čemur pravimo “dekonstruirani trenutek v moderni poeziji”, “poskus projicirati poprostorjeni čas, ki ga lahko opazujemo iz pozicije brezčasnega, statičnega trenutka, sposobnega v hipu zaobjeti vse življenje” (Jackson 1982). Gre za zavest, ki jo Derrida imenjuje “sled”, Stevens pa “izmikajoče gibanje jezika”. Sled pomeni, da se v trenutku, ko beseda izgine, zavemo odsotnosti njenega pomena; je torej bežen pogled na pomen, ki ga v hipu ni več. Stevensova pesem ni vplivala le na druge pesnike, umetnike in skladatelje, pač pa so njegove ideje in tehnike našle odmev tudi v popularni glasbi in kulturi 21. stoletja.
Keywords:Wallace Stevens, glasbena metafora, ekfraza, The Man with the Blue Guitar


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