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Debussy, lecteur de Pelléas

100%
Lysøe É.
Romanica Cracoviensia
|
2017
|
vol. 17
|
issue 2
137-147
EN
This is a well-known story: a few days before the first performance, Maeterlinck had no words hard enough to describe the opera that Debussy created from Pelléas et Mélisande, the dramatist’s masterpiece. The critics, however, are too much inclined to reduce the causes of Maeterlinck’s anger to the expulsion of Georgette Leblanc, his mistress, who was to perform the first female role. The text of the play, which the composer almost always followed to the letter, has actually been cut and some amendments made by Maeterlinck to its 1892 text have not been taken into consideration. This paper aims at showing that, despite the apparent fidelity of the musical adaptation, the few variants inserted by Debussy generate a semiotic system and lead us to see the opera as a true translation, that is to say the transformation of a subordinate work into a source context and its adaptation to a target context. All typically “Belgian” aspects are blurred and attempts to make the unconscious emerge, as defined by Eduard von Hartman as early as 1869, are annihilated by the use of the leitmotif.
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El enigma del individuo: antecedentes y convergencias entre Franz Kafka y César Vallejo

75%
del Rocío Oviedo M. d.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2023
|
vol. 33
|
issue Special Issue
36-44
EN
The affinity between Kafka and Vallejo is based on the transformation from man to animal that they present in their narratives: The Metamorphosis and “The Caynas”. In both of them the transformation occur gradually and they construct an oppressive atmosphere in a sort of “fatum” which ends in the meaninglessness of existence. Given the impossibility of a direct influence Kafka’s on Vallejo due to the dates of publication, the origin of the affinity is to be found in the readings that they share.
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