Трансмузикализација текста : музика српске модернистичке књижевности
Transmusicalization of the text the music of serbian modernist literature

Author(s): Mina Đurić
Subject(s): Language and Literature Studies, Studies of Literature, Serbian Literature, Theory of Literature
Published by: Савез славистичких друштава Србије
Keywords: Transmusicalization; Serbian Modernist Literature; Word and Music Studies; Musical Elements in Literature; Literary-Musical Aesthetics
Summary/Abstract: The book Transmusicalization of the Text: The Music of Serbian Modernist Literature presents the possibilities of interdisciplinary studies of the music of literature and the literature of music at the end of the 19th century and in the first decades of the 20th century. Along with the theoretical foundations of the concept of transmusicalization of the text, the monograph summarizes the results of Word and Music Studies at home and abroad and outlines the directions of future intermedial interpretations of works of Serbian and world literature. Through examining the versatile aesthetic and creative attitudes of Bogdan Popović, Jovan Skerlić, Branko Lazarević, Vojislav Ilić, Jelena Dimitrijević, Aleksa Šantić, Jovan Dučić, Milan Rakić, Vladislav Petković Dis, Milutin Bojić, Isidora Sekulić, Stanislav Vinaver, Momčilo Nastasijević, and other authors, it is noticeable how much their literary focus was inextricably linked with the intermedial perspectives of understanding the artistic act and how important music was as an artistic concept reflected in their written works. Taking into account that many of these authors had a musical education, that they played or even created music, and that they all received attention, had conversations with some of the most prominent composers of their time, and laid the foundations of numerous cultural institutions with them, the research follows various transmusicological signs in literary texts that show a continuous connection between artistic disciplines, mutual influences, actions, and creative reception. Therefore, the questions raised by this research, as well as the answers offered, are very diverse and widely presented and include hypotheses regarding the following aspects: what is the musical structure of a certain literary work; to what extent is the foundation of an integral literary-musical essay built from the basis of impressionistic criticism; what determines how much the work of a certain writer is also musical; can transmusicalization processes be simultaneously intercultural mediations; how have musical elements incorporated into the literary text contributed to the modernization of literature and then received in unique compositional approaches producing certain effects in the context of poetic changes on the musical plane; what are the colors of sounds in modernist poetry and what is the meaning of the transmusicalization of chromaesthesia; what is the musical epistemology of a literary text; what music do modernist writers listen to and what does this mean for their literary works; how much do musical elements, such as cadence or syncopation, affect tonal versifi cation and promote changes between bound and free verse, exemplifying the fact that the musicalization of verse is the basis of its modernization; what music is dangerous and how do writers approach the phenomenology of dance; what is the symbolism of transmusicalized instruments in modernist poetry; to what extent are musical metaphors and refl ections in literary texts actually substitutions of many important themes that are often ideologically unsuitable for actualization in another form of text; how does the musical discourse of a literary work develop itself; why is transmusicalization of the text set as an important fulcrum of numerous poetic changes in Serbian modernist literature. By answering those questions, through monograph, a common body of concepts concerning the music of literature and the literature of music is constituted and assumptions are developed regarding the processes of the creative reception of works of one discipline into another, which is contributed to by the translation of artistic phenomena from other disciplines into literary works, as ways of mediating certain socio-cultural strongholds. Why musical essays are written by literary creators, to what extent does the interdisciplinarity of the modernist paradigm offer the basis for many opportunities for inter-institutional cooperation, and how is awareness of the intermedia versatility of the creators of Serbian literature constituted within the framework of the reception of literary and musical artists who belong to the corpus of world heritage, are just some of the outcomes of this book. In the context of this research, it is concluded how transmusicological frameworks, as potentials of interdisciplinary and intercultural universalization, also indicate the integrality between the studies of Serbian and world literature and music. The main goal of this book is to offer, through observations of the process of transmusicalization of the texts and music of Serbian modernist literature, a concept of the methodology of interdisciplinary studies of literature as a basis for the constitution of interdisciplinary reflections on the connections between literature and other academic fields and arts. It also stands as a paradigm for further observing the relationship between the music and literature of Serbian and world cultures of the second half of the 20th and the 21st centuries. The results in this monograph are established as a foundation for the constitution of an interdisciplinary history of literature and other arts and an all-around observation of literature among other disciplines and scientific fields.

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