Atonality and Tonality: Musical Analogies in Roland Barthes's Lectures at the Collège de France

O'Meara, Lucy (2008) Atonality and Tonality: Musical Analogies in Roland Barthes's Lectures at the Collège de France. Paragraph, 31 (1). pp. 9-22. ISSN 1750-0176. E-ISSN 0264-8334. (doi:https://doi.org/10.3366/E0264833408000035) (The full text of this publication is not currently available from this repository. You may be able to access a copy if URLs are provided)

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Official URL
http://dx.doi.org/10.3366/E0264833408000035

Abstract

Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, it is hoped, arrive at a fuller understanding of their methodology and the role they ascribe to the listener or reader. The atonal analogy, however, is left behind in 1978, as Barthes's major projects (La Préparation du roman and Camera Lucida) employ more conventional, developmental structuring. It is here, then, that the analogy with tonality, again suggested by Barthes, can be usefully employed.

Item Type: Article
Additional information: number of additional authors: 0;
Uncontrolled keywords: Barthes, methodology, Umberto Eco, open work, atonality, tonality
Subjects: P Language and Literature
Divisions: Faculties > Humanities > School of European Culture and Languages
Faculties > Humanities > School of European Culture and Languages > French
Depositing User: Lucy O'Meara
Date Deposited: 07 Mar 2014 00:05 UTC
Last Modified: 11 Dec 2015 09:44 UTC
Resource URI: https://kar.kent.ac.uk/id/eprint/40582 (The current URI for this page, for reference purposes)
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