Jump to ContentJump to Main Navigation
Borrowed FormsThe Music and Ethics of Transnational Fiction$
Users without a subscription are not able to see the full content.

Kathryn Lachman

Print publication date: 2014

Print ISBN-13: 9781781380307

Published to Liverpool Scholarship Online: January 2015

DOI: 10.5949/liverpool/9781781380307.001.0001

Show Summary Details
Page of

PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 11 April 2021



(p.1) Introduction
Borrowed Forms

Kathryn Lachman

Liverpool University Press

The Introduction establishes the principle concerns of the book: to map out a more responsible, rigorous, and situated engagement with the music in transnational fiction and theory; to demonstrate the connections between the literary, the musical and the political; and to assess the wide-ranging applications of musical forms in transnational writing. It opens with a critical reading of Julio Cortázar's story “Clone” to illustrate the influence of musical form on contemporary transnational fiction. It then provides a brief overview of the significance of musical concepts in twentieth-century literary criticism, and outlines the problematic status of the voice in both music and literature. The Introduction proceeds to evaluate recent developments in the field of word-music studies, noting that scholars have only recently attended to the music of postcolonial and non-Anglophone literatures and have largely neglected the political and ethical implications of musical form. Finally, it assesses the fundamental role that music plays in the work of novelists Assia Djebar, Maryse Condé, J. M. Coetzee, and Nancy Huston, calling attention to the specific contexts from which each of these authors writes—postcolonial Algeria, Guadeloupe, South Africa, Canada, Paris, New York, Australia. Working between multiple traditions, languages, and audiences, these writers appropriate musical forms in their efforts to reinvigorate and reinvent the novel.

Keywords:   music, ethics, voice, literary criticism, francophone, transnational, postcolonial, Julio Cortázar, narrative form, Baroque

Liverpool Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.