Langue contre musique : la discordance comme symptôme de la transgénéricité du lyrisme

Abstract

Since Antiquity, language and music are associated within the lyricism. From the musical setting of texts of the Pleiad collection to the lyre of the heart of Lamartine, the musical system, “espressivo expressionless” of Jankélévitch, offers a mediation to express the unspeakable, the “infigurable”, the feelings. The end of romanticism seems to correspond to the end of harmony between both arts. Literature and music tend to enter into conflict within the works of the second half of the XIXth. Nevertheless, it does not correspond to the death of lyricism, both systems are still closely linked in a fertile way that generates feelings and renews their expression. The influence of the song in the « sound-sense », the structuring phenomena of a hearing and linguistic point of view reveal the paradoxical modalities of these competition. The intersemiotic conflict threatens naturally the integrity of the lyricism work but it also feeds its transgeneric character so that the musical and linguistic systems favor the circulation of affects and modify the reception of the reader / auditor to renew the genre. The poetics of the semiotic conflict does not interrupt the former dialogue between language and music but it puts it in renewed terms. If ideological and esthetics competition between both systems remain, they do not hinder all the exchanges of both arts within the lyrical literature. Actually, we observe quite the opposite; the clash brings to light a fundamental property of lyricism, its transgenericity. Transcending the borders between subject and object, music and literature, lyricism sets up a configuration which assures emotional movement and transmission in a gesture of everlasting critical hybridization