MUZIKA IR LITERATŪRA: NARATYVUMO ASPEKTAS
MUSIC AND LITERATURE IN THE PERSPECTIVE OF NARRATIVITY

Summary/Abstract: The paper aims at the discussion of the possibility for the employment of the concept of narrativity in the analysis of the musical aspects of the form of a literary work. The concept of narrativity is significant as a transmedial category in a wider modern concept of intermediality of arts (Werner Wolf). On the other hand, narrativity has its specific expression in music. A novel perspective for the concept of narrativity coming from the theory of music may turn to be fruitful in the comparative analysis of the analogues of a literary work’s formal aspects and adequate musical models offering modern concepts. For instance, such models might be useful in understanding the operation of the thematic principles as possible formal components in a piece of fiction. The application of the suggested methodological innovations would enrich the conventional approaches used in the comparative analysis of the two mentioned arts, i.e. music and literature. The offered analysis is based on the works of Algirdas Julius Greimas, Eero Tarasti, Gerard Genette, Werner Wolf, Inga Jasinskaitë-Jankauskienë and others. The following conclusions have been arrived at: 1) narrativity is one of the manifestations of transmediality in the concept of intermediality of arts; it may be interpreted in non-historical as well as in historical sense; in the latter case, it should be understood as embracing general formal aspects and content archetypes; 2) narrativity may point to system as well as process; thus, for the analysis of the musical analogues in the form of a literary work, the processuality is of greater significance; it manifests itself in isotope, transformations of modality, etc.; 3) an employment of the described concepts would allow for the discussion of the specificity of musical thematics in literature as well as for the development of the proper definitions of the musical analogues of classical forms and generatrixes of the contemporary forms; such approach in literary analysis would undoubtedly enrich the very concept of intermediality and open up a new and promising direction in comparative methodology.

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