Polyphony of Toni Morrison's A Mercy: The Fugal Form.
This article aims to explore the representation of the fugal form in A Mercy (2008) by Toni Morrison as regards the non-linear complexity of the plot revealed in multiple story lines and multiple voices. The analysis of A Mercy is based on Mikhail Bakhtin's theory of the polyphonic novel. The presen...
| Publicado en: | Neophilologus Vol. 104; no. 2; pp. 283 - 301 |
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| Autores principales: | , |
| Formato: | Literary Criticism |
| Publicado: |
Springer Nature
Jun2020
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| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=143245678&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 143245678 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00282677 OK9 jtl: Neophilologus issn: 00282677 maglogo: N pubinfo: dt: Jun2020 vid: 104 iid: 2 pid: 237 pub: Springer Nature artinfo: ui: 143245678 10.1007/s11061-019-09622-9 ppf: 283 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 734KB tig: atl: Polyphony of Toni Morrison's A Mercy: The Fugal Form. aug: au: Bystrov, Yakiv Telegina, Nataliya affil: Vasyl Stefanyk Precarpathian National University, 57 Shevchenko St., 76018, Ivano-Frankivsk, Ukraine su: Mercy, A (Book) Morrison, Toni, 1931-2019 Fugue (Musical form) Repetition (Rhetoric) Story plots sug: subj: Mercy, A (Book) Morrison, Toni, 1931-2019 Fugue (Musical form) Repetition (Rhetoric) Story plots keyword: Counterpoint Fugue Juxtaposition Musical polyphony Musicalization in fiction Polyphonic novel Toni Morrison ab: This article aims to explore the representation of the fugal form in A Mercy (2008) by Toni Morrison as regards the non-linear complexity of the plot revealed in multiple story lines and multiple voices. The analysis of A Mercy is based on Mikhail Bakhtin's theory of the polyphonic novel. The present paper places the focus of analysis on the musical polyphony, notably on the principle of counterpoint, according to which a literary text can be structured. The novel consists of twelve sections, some of which are written in the first person, and the others, in the third person. Nevertheless, in the sections written in the third person the characters appear to be independent from the author, and the reader hears their individualized voices as the third person pieces of narration are told from the characters' perspectives. The same events and people enter the consciousnesses of eight different characters and are interpreted from their points of view. Toni Morrison's A Mercy is viewed as a triple fugue in which eight individualized thematically related voices enter the novel successively and develop three subjects DIFFERENCE, LOSS, and MERCY contrapuntally. The cycling of three subjects through the intertwined voices, the modifications of the subjects, a great complexity of repetition, the juxtaposition of the figures and points of view, and the overlapping of the voices speaking of the same periods of time and the same events testify to the fact that the novel is polyphonic and reveals evident features of the fugue. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y custom: Neophilologus is a copyright of Springer, 2020. All Rights Reserved. item: Neophilologus holder: Springer Nature dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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