E. M. Forster's Use of Music in A Passage to India
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This paper attempts to explore Forster’s use of music in A Passage to India (PI) to suggest the message of genuine unification. Forster is known as a musical novelists who can meticulously employ musical elements in his novels. While Forster displayed stereotypical western music in the previous novels, he used an alternative form of music in PI. His perspective on the art and human relationship is effectively reflected throughout the novels, such as the national anthem in the club house, Aziz’s poetry, echoes, and Godbole’s performance. Forster refused both social homogeneity and nationalism, whereas he saw the possibility of absolute unification through transcendental music, which has contrasting aspects. Echoes can be construed as destructive expansion of music, which brings cacophony to the characters. On the other hand, Godbole’s Hindu performance, which embraces all living entities, seems to truly provide remedial expansion for unification, evidenced by Aziz’s turning point for the liberation from the past.
Abstract
This paper attempts to explore Forster’s use of music in A Passage to India (PI) to suggest the message of genuine unification. Forster is known as a musical novelists who can meticulously employ musical elements in his novels. While Forster displayed stereotypical western music in the previous novels, he used an alternative form of music in PI. His perspective on the art and human relationship is effectively reflected throughout the novels, such as the national anthem in the club house, Aziz’s poetry, echoes, and Godbole’s performance. Forster refused both social homogeneity and nationalism, whereas he saw the possibility of absolute unification through transcendental music, which has contrasting aspects. Echoes can be construed as destructive expansion of music, which brings cacophony to the characters. On the other hand, Godbole’s Hindu performance, which embraces all living entities, seems to truly provide remedial expansion for unification, evidenced by Aziz’s turning point for the liberation from the past.
참고문헌 (17)
- Barratt, Robert, "Marabar: The Caves of Deconstruction", The Journal of Narrative Technique, 23(2), pp.127~135 (2007)
- Cowley, Malcolm, "Writers at Work: The Paris Review Interviews" (1977), Penguin
- DiGaetani, John L., "Richard Wagner and the Modern British Novel" (1978), Associated UP
- Edward, Mike, "E. M. Forster: The Novels" (2002), Palgrave
- Forster, Edward M., "Abinger Harvest" (1964), Harcourt Brace
- Forster, Edward M., "A Passage to India" (2005), Penguin Books
- Forster, Edward M., "Aspects of the Novel" (1974), Edward Arnold
- Forster, Edward M., "Howards Ends" (1992), Penguin Books
- Forster, Edward M., "The Hill of Devi" (1953), Harvest
- Forster, Edward M., "To Cheers for Democracy" (1979), Harcourt Brace
- Fillion, Michelle, "Difficult Rhythm: Music and the Word in E. M. Forster" (2010), U of Illinois P
- Furbank, Philip N., "E. M. Forster: A Life. 2 vols" (1977), Seeker and Warburg
- Hayles, N. Katherine, "Chaos Bound: Orderly Disorder in Contemporary Literature and Science" (1990), Cornell University Press
- Hollingsworth, Keith, "A Passage to India: The Echoes in the Marabar Caves", Criticism: A Quarterly for Literature and the Arts, 4(3), pp.210~224 (1962)
- Moran, Jo Ann Hoeppner, "E. M. Forster’s A Passage to India: What Really Happened in the Caves", Modern Fiction Studies, 34(4), pp.596~604 (1998)
- Sarker, Sunil, K., "E. M. Forster's A Passage to India" (2007), Atlantic Publishers & Distributors
- Richards, Jeffrey, "Imperialism and Music: Britain 1876-1953" (2001), Manchester UP