FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W130780731> ?p ?o ?g. }

• W130780731 startingPage "85" @default.
• W130780731 abstract "Tchaikovsky and his Sixth Symphony have two distinct functions in E.M. Forster's Maurice. The composer and composition serve strategy of disclosure Clive Durham he woos Maurice Hall, and may provide evidence of the ways that music, like literature, can take part in individual and social formations. ********** Alan Sinfield suggests that of Russian composer Peter Ilyich Tchaikovsky's homosexuality serves as test of queer knowledge in E.M. Forster's Maurice (145). Describing the four male characters in the novel, Sinfield declares that Risley, unlike the others, knows to be queer, Risley presents himself in Wildean manner, likes Tchaikovsky and knows he was homosexual, and terms the Pathetique symphony the 'Pathique' (140). Arthur Martland explores the relationship between art and sexuality in Maurice, arguing that, for Risley and Maurice, the of their shared sexuality with the composer provides second road by which the work [the Pathetique] is known and appreciated (139). Martland points out, too, how Risley's reference to the symphony the Pathique is clearly intentional on Forster's part to serve means of disclosure, because Pathique or pathic refers to passive homosexual and is defined as man or boy upon whom sodomy is practised (139). Other th an these insightful observations, however, little been written about Forster's use of Tchaikovsky's Sixth Symphony--the Pathetique--in Maurice. Linda Hutcheon, Andrea Weatherhead, David Lean Higdon, W.J. Lucas, Tony Brown, and P.N. Furbank have documented Forster's interest in in general and his admiration Beethoven and Wagner in particular, but certainly no extended study exists regarding the relationship among Maurice, Tchaikovsky, and the Sixth. My intention in this essay is to provide an initial reading of that relationship. argue that Tchaikovsky and the Sixth function in at least two distinct ways. First, they provide strategy of disclosure Clive Durham he woos Maurice Hall; second they serve--by way of the Tchaikovsky biography that Maurice eventually reads--as evidence of the ways that music, like literature, can take part in both individual and social formations. Further, suggest that Forster's treatments of Tchaikovsky and the Sixth differ in meaningful ways from his treat ments of composers and in his other works--both fiction and non-fiction. In Maurice, Forster eventually abandons the aesthetic arguments about music's appeal and power to focus, instead, on cultural product with social and political implications. Throughout his career, Forster acknowledges the potential of music's formal features means of suggesting the rhythms available to modernist literatures. When the symphony is over Forster says in Aspects of the Novel, we feel that the notes and tunes composing it have been liberated, they have found in the rhythm of the whole their individual freedom (169). He suggests this musical analogy a type of beauty which fiction might achieve in its own way. Expansion. That is the idea the novelist must cling to. Not completion. Not rounding off but opening out (169). The use here of musical metaphor successfully underscores--while resisting an explanation of--Forster's notion of expansion. Music's power, Catherine Clement says, to be received not only the ear but also through the whole expanse of skin, the whole body (255), is power that philosophers and artists have long acknowledged. Forster says simply, I love and he claims that music is the deepest of the and deep beneath the arts (Raison d'Etre 107). But he also acknowledges that love of is not enough to express appreciation music's value or its potential, and he says most of what been written about has nothing to do with but merely describes the state into which the hearer was thrown he sat on his chair in the concert hail and the visual images which occurred to him in that sedentary position (110). …" @default.
• W130780731 created "2016-06-24" @default.
• W130780731 creator A5078782151 @default.
• W130780731 date "2003-03-01" @default.
• W130780731 modified "2023-09-28" @default.
• W130780731 title "No Trace of Presence: Tchaikovsky and the Sixth in Forster's Maurice" @default.
• W130780731 hasPublicationYear "2003" @default.
• W130780731 type Work @default.
• W130780731 sameAs 130780731 @default.
• W130780731 citedByCount "2" @default.
• W130780731 countsByYear W1307807312015 @default.
• W130780731 countsByYear W1307807312021 @default.
• W130780731 crossrefType "journal-article" @default.
• W130780731 hasAuthorship W130780731A5078782151 @default.
• W130780731 hasConcept C107993555 @default.
• W130780731 hasConcept C11171543 @default.
• W130780731 hasConcept C124952713 @default.
• W130780731 hasConcept C138885662 @default.
• W130780731 hasConcept C142362112 @default.
• W130780731 hasConcept C144024400 @default.
• W130780731 hasConcept C15744967 @default.
• W130780731 hasConcept C16277566 @default.
• W130780731 hasConcept C2776678506 @default.
• W130780731 hasConcept C2778584255 @default.
• W130780731 hasConcept C52119013 @default.
• W130780731 hasConcept C53813258 @default.
• W130780731 hasConceptScore W130780731C107993555 @default.
• W130780731 hasConceptScore W130780731C11171543 @default.
• W130780731 hasConceptScore W130780731C124952713 @default.
• W130780731 hasConceptScore W130780731C138885662 @default.
• W130780731 hasConceptScore W130780731C142362112 @default.
• W130780731 hasConceptScore W130780731C144024400 @default.
• W130780731 hasConceptScore W130780731C15744967 @default.
• W130780731 hasConceptScore W130780731C16277566 @default.
• W130780731 hasConceptScore W130780731C2776678506 @default.
• W130780731 hasConceptScore W130780731C2778584255 @default.
• W130780731 hasConceptScore W130780731C52119013 @default.
• W130780731 hasConceptScore W130780731C53813258 @default.
• W130780731 hasIssue "1" @default.
• W130780731 hasLocation W1307807311 @default.
• W130780731 hasOpenAccess W130780731 @default.
• W130780731 hasPrimaryLocation W1307807311 @default.
• W130780731 hasRelatedWork W1965528480 @default.
• W130780731 hasRelatedWork W1990493704 @default.
• W130780731 hasRelatedWork W2003284109 @default.
• W130780731 hasRelatedWork W2010783561 @default.
• W130780731 hasRelatedWork W2035005416 @default.
• W130780731 hasRelatedWork W2054917250 @default.
• W130780731 hasRelatedWork W2083813007 @default.
• W130780731 hasRelatedWork W2314097327 @default.
• W130780731 hasRelatedWork W233107481 @default.
• W130780731 hasRelatedWork W239344565 @default.
• W130780731 hasRelatedWork W2497084230 @default.
• W130780731 hasRelatedWork W251109013 @default.
• W130780731 hasRelatedWork W265521690 @default.
• W130780731 hasRelatedWork W568077783 @default.
• W130780731 hasRelatedWork W62885582 @default.
• W130780731 hasRelatedWork W68393325 @default.
• W130780731 hasRelatedWork W791152639 @default.
• W130780731 hasRelatedWork W911287372 @default.
• W130780731 hasRelatedWork W98721193 @default.
• W130780731 hasRelatedWork W1845785171 @default.
• W130780731 hasVolume "36" @default.
• W130780731 isParatext "false" @default.
• W130780731 isRetracted "false" @default.
• W130780731 magId "130780731" @default.
• W130780731 workType "article" @default.