Explore the vast range of titles available.

The poetry of Paul Verlaine inspired several songs by Debussy. Il pleure dans mon coeur is no. 2 in the cycle Ariettes oubliées. The same poem is used as a motto for a short piano piece by Zoltán Kodály: no. 3 in the Seven Pieces for Piano, op. 11 (Esik a városban). The paper describes the madrigalesque word painting of Kodály's composition on the one hand, and analyzes the modes of its melodic material on the other. In a broader context, the influence of French art (the music of Debussy in particular) on the artistic development of the young Kodály is discussed, as well as the two composers' mutual estimation of each other.

Members of Italian Masonic lodges, esoteric organizations widely perceived as secret societies, prefer to explain their elaborate practices of concealment and disclosure in terms of discretion. Through the aesthetics and epistemology of discretion, Freemasons view the world as a \"forest of symbols\" hidden in plain sight and awaiting interpretation. Taking \"discretion\" as both an ethnographic and analytic category, I ask how an anthropological study of discretion may reveal not only forms of cultural practice deemed secret but also the interpretive art of decoding that underlies the process of knowledge formation at the heart of Masonic communities of practice.

Musicologists have long recognized that “sensation” played an important role in the musical culture of debussysme. Close readings of the writings of Debussy and his circle in the first decade of the twentieth century reveal that a key, though often overlooked, aspect of Debussyist sensation is a specifically auditory one—a special mode of attentive listening that claims a privileged knowledge of the natural phenomenon of sound. This account of sensation and listening, which both recapitulates and critiques central components of Helmholtzian sensory physiology, puts Debussy and Debussyism in dialogue with a network of late-nineteenth- and earlytwentieth-century discourses on the limits of sensory knowledge and resultant problems of representation. Considering Debussyism in this light demonstrates the extent to which musical culture in this period negotiated a modernist crisis of representation salient across high-art culture around the turn of the twentieth century even as it inflected this problem specifically toward issues of sound and listening.

Jorge Luis Borges openly rejected surrealism as “snobbish chitchat,” and most scholars have taken such statements of his at face value. Research into the surrealist magazines of the 1920s and 1930s, as well as Victoria Ocampo's papers at Harvard's Houghton Library, show just the opposite. This article uses archival and published sources to trace the literary network that brought Pierre Menard from the surrealists to the pages of Sur, in order to reveal Borges' intimate connection to the surrealists from whom he always sought to distance himself. This connection crystallizes in the ambiguous figure of the Comte de Lautréamont, apostle of plagiarism as artistic method, who himself was the subject of a graphological analysis by the real Dr. Pierre Menard, published in the surrealist magazine Minotaure in the very month that Borges published his seminal story in Sur.

This article offers a brief overview of English and French landscape poetry, and then a structural analysis of the features that characterize the paysage d'âme technique. The uncertain history of the coinage of the term is also explored, with special reference to Amiel and Verlaine, as is the adoption in Spanish literature of both the label (as paisaje del alma ) and the technique. I go on to trace how, after the Symbolist period, it is gradually transformed into the objective correlative, and finally scrutinize several Spanish poems from the late 1920s where objective correlatives combine to create disjointed avant-garde landscapes.

Buhagiar Poem 72 (\"What Gems Chill Glitter Yon\") of Christopher Brennan's magnum opus Poems 1913, a livre compose of 105 individual poems, has drawn especially virulent responses from certain critics of his alleged impenetrability. Brennan's poetry admittedly can be challenging in the extreme. This can be due, in the cases of some poems, to his adherence to the Symboliste principle that the reader should receive no help at all from content adjunct to the bare images and symbols themselves. Here, Buhagiar intends to use the symbols, correctly interpreted, of poem 72 as keys to unlocking its mystery and to show that the poem is a powerful instance of a momentous theme of Poems 1913, the clear appreciation of which can help elucidate the larger work.