dc.contributor.author |
Lees, Heath, 1941- |
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dc.date.accessioned |
2021-08-25T09:05:46Z |
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dc.date.available |
2021-08-25T09:05:46Z |
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dc.date.issued |
2005 |
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dc.identifier.uri |
https://hdl.handle.net/2292/56171 |
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dc.description |
Full text is available to authenticated members of The University of Auckland only. |
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dc.description.abstract |
This study aims to challenge and replace the existing view of Mallarme's "re-possession" of music on behalf of poetic language. Traditionally, this re-possession has been assigned to the last fifteen years of the poet’s life, and interpreted as a sudden awakening to music during an all-Wagner Concert Lamoureux in Paris, in 1885. The author claims that Mallarme's early knowledge and experience of music was much greater than commentators have believed, and that the French poet began his writing career with the explicit aim of making music’s performance-language of "effet" the ground of his poetic expression. Integral to the argument is Mallarme's reaction to the work and ideas of Richard Wagner, whose impact on France came in two waves, the first reaking during the tempestuous 1860s days of the Paris Tannhauser, and the second arriving in the mid-1880s, and flowing on into the appearance of the Revue wagnerienne. The thesis maintains that Mallarme exhibited a highly informed Wagnerian background, not just during the second wave, but during the first as well, when his appreciation of the composer’s technique of gestural motives and flexible musical prose helped him develop a new concept of self-expressive, gestural rhythm. In support of this, the thesis examines closely what Wagner "really" said in the prose works that were becoming known in Paris by the 1860s, especially his French text the Lettre sur la musique. It also re-examines Baudelaire's classic text Richard Wagner et Tanhauser a Paris. Using a measure of musically informed commentary, the author goes on to survey the four decades of Mallarme's attempts to draw out the musical gestures and resonances of words alone. In the process, he throws new light on many of Mallarme's best-known texts, hitherto judged "difficult" by those who have failed to appreciate the poet's continuous search for "la Musique". |
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dc.publisher |
ResearchSpace@Auckland |
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dc.relation.ispartof |
PhD Thesis - University of Auckland |
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dc.relation.isreferencedby |
UoA99159756714002091 |
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dc.rights |
Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. |
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dc.rights |
Restricted Item. Full text is available to authenticated members of The University of Auckland only. |
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dc.rights.uri |
https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm |
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dc.title |
Mallarme, music, Wagner : a study in music and poetic language |
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dc.type |
Thesis |
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thesis.degree.grantor |
The University of Auckland |
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thesis.degree.level |
Doctoral |
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thesis.degree.name |
PhD |
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dc.rights.holder |
Copyright: The author |
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dc.identifier.wikidata |
Q112867130 |
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