Book section : Chapter
Listen to the creaking frame: Derrida’s parergon and image-music translation
- Abstract:
- This chapter discusses the tensions that can arise through translation of images within art music (broadly defined). Offering novel interpretation and analysis of Jacques Derrida’s The Truth in Painting (1978), particularly in the deconstruction of Kant’s parergon (ornament, or supplement), I suggest that the ‘frame’ of the musical work which uses an image as its ontological source material is embodied through a discourse of scepticism and aesthetic ‘noise’. This acknowledgement of ‘supplemental’, extra-musical agency can re-orient the role of images in our understanding of multimodal music, modernising current study within musicology through a recognition of the affective ‘power’ of images, posited in art history and visual studies since the 1990s. As such, the chapter argues for the necessary ‘imperfection’ of any multimodal translation project through aporetic dialectics, echoing Frederic Jameson’s work on realism in literature (2013).
- Publication status:
- In press
- Peer review status:
- Peer reviewed
Actions
Access Document
- Publication website:
- https://www.bloomsbury.com/in/multimodality-and-the-arts-9781350526167/
Authors
- Publisher:
- Bloomsbury Academic
- Host title:
- Multimodality and the Arts: Creative and Performative Processes as Intersemiotic Translation
- Chapter number:
- 7
- Series:
- Bloomsbury Advances in Translation
- Edition:
- 1
- ISBN:
- 9781350526167
- Language:
-
English
- Keywords:
- Subtype:
-
Chapter
- Pubs id:
-
2298779
- Local pid:
-
pubs:2298779
- Deposit date:
-
2025-10-08
- ARK identifier:
Terms of use
- Notes:
- Accepted for publication in Multimodality and the Arts: Creative and Performative Processes as Intersemiotic Translation, forthcoming from Bloomsbury Academic.
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