This problem is extremely complex and quite unusual among historically sanctioned cases of music-literary relations, while it remains one of the most marginal in literature and undoubtedly the least developed to date. The possibility to represent music in literature is very limited – representation as an intersemiotic form of mimesis. Towards the Theatre of the Absurd: “The words disappear…”ħ Literature beyond literature: Hérodiade – “Hérodiade” de Stéphane Mallarmé] by Paul Hindemith] Rostworowski’s musical experiences – Judas Semantic shift (context of Müller’s text)Ĭonsequences of listening and reading – musical literary textĦ Score – Judasz z Kariothu by Karol Hubert Rostworowski] Musical matrix (context of Schubert’s] text) Podróż zimowa as a literary text and a virtual vocal text The paradigms of “musicality” (an attempt at a survey)ģ Description of music (between the poetic variant and the interdisciplinary variant)ĭescription of music: between the interdisciplinary and the poetic variantsĤ Literary fugues (Umberto Saba’s] Preludio e Fughe and Paul Celan’s] Todesfuge)ĥ Listen and read: two sources of one interpretation strategy: (Stanisław Barańczak’s] Podróż zimowa ) The characteristics and the concept of musicality Comparative literatureġ Around Tadeusz Szulc’s] Muzyka w dziele literackim Ģ Musicality – musicality of a literary work Musicality – musicality of a literary work – musical literary text.The perspective of research into music in literature.
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