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Sonnet VIII by William Shakespeare in Songs of Kabalevsky, Stravinsky and Mykietyn

100%
Dąbek K.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 2(33) Eng
77-99
EN
Sonnet VIII Music to hear by William Shakespeare belongs to socalled “procreation sonnets”, where the poet insists on a young man to get married and have children. It should grant immortality to him and his youthful beauty to the world. The poem, written in iambic pentameter, reveals the structure of an Elizabethan sonnet. The main emphasis is laid on the last stanza which does not serve anymore as a protective advice, but as a warning. The syndrome of Sonnet VIII, understood after Mieczysław Tomaszewski as a “group of constitutive features” is formed here by the following categories: musicality, metaphorism, oxymoronity, rhetoric and erotic ambivalence. The poem has found its musical interpretations in the output of the 20 th-century composers: Dmitry Kabalevsky, Igor Stravinsky and Paweł Mykietyn. All songs are both musically and expressively distant from each other, nevertheless each of them reflects an element of the Sonnet’s character. Metaphorism and oxymoronity appear in music of every composer in a very individualized way, which is proved by the analysis of relations between text and music. The sphere of erotic ambivalence is present only in Mykietyn’s song, intended for a male soprano. In a lyrical song by Kabalevsky the musicality and rhetoricof the poem are especially underlined. In a constructivist approach of Stravinsky (dodecaphony) and Mykietyn (circle canon) analogies to an intellectual game and a net of complex literary metaphors in the poem can be found.
2

Revealing V. Voiculescu’s Paradoxical Personality

100%
Suciu S.
Acta Universitatis Sapientiae, Philologica
|
2014
|
vol. 6
|
issue 3
357-371
EN
Our short study tries to cast light upon a canonical Romanian poet’s paradoxical personality, a poet who, in our opinion, “suffered” by the “anxiety of influence” - a concept theorized by Harold Bloom - and, thus, endeavored in an imaginary translation of Shakespeare’s “last sonnets”. In order to reach our goal, we travelled throughout V. Voiculescu’s paratopia, using Maingueneau’s concept to understand how a believer was able to be - at the same time - poet, mystic, physician, philosopher and theologian, in the sense in which God the Word was speaking inside him, o theos logos. The multiple aspects of his personality are being revealed with the help of a various bibliography, into the light of Agapè, the divine love descending onto a poet who was being moved towards it by the all powerful Eros. The paradox is the fact that the full measure of his art was given at an old age - mid seventies -, an age when other poets are repeating themselves in a minor gamut, depleted by their intellectual force, as they are physically weakened.
3
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Facial Recognition and Posthuman Technologies in Shakespeare’s Sonnets

72%
Darcy R.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2021
|
vol. 24
|
issue 39
153-167
EN
The human face, real and imagined, has long figured into various forms of cultural and personal recognition-to include citizenship, in both the modern and the ancient world. But beyond affiliations related to borders and government, the human face has also figured prominently into biometrics that feed posthuman questions and anxieties. For while one requirement of biometrics is concerned with “unicity,” or that which identifies an individual as unique, another requirement is that it identify “universality,” confirming an individual’s membership in the species. Shakespeare’s sonnets grapple with the crisis of encountering a universal beauty in a unique specimen to which Time and Nature nonetheless afford no special privilege. Between fair and dark lies a posthuman lament over the injustice of natural law and the social valorizations arbitrarily marshaled to defend it.
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