Transatlantica, 2 | 2012 Hate Music 2
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2012 Cartographies de l'Amérique / Histoires d'esclaves Hate Music Claude Chastagner Édition électronique URL : http://journals.openedition.org/transatlantica/6075 DOI : 10.4000/transatlantica.6075 ISSN : 1765-2766 Éditeur AFEA Référence électronique Claude Chastagner, « Hate Music », Transatlantica [En ligne], 2 | 2012, mis en ligne le 02 mai 2013, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/6075 ; DOI : https:// doi.org/10.4000/transatlantica.6075 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Hate Music 1 Hate Music Claude Chastagner Introduction 1 A recent, extremely interesting issue of Littératures devoted to “melophobia” focuses on various forms of aversion to music as expressed in literature, from Rainer Maria Rilke to Milan Kundera, or Bret Easton Ellis (Sounac, 2012). In his exhaustive introduction, Frédéric Sounac recalls Pascal Quignard’s seminal text, La Haine de la musique (Quignard, 1996) which itself spawned numerous publications, including a similarly penned collection of essays (Coste, 2011). Quignard’s unusual suggestion is that music is a demanding, colonizing practice, an intrusive, subjugating power, almost a rape. He adds : I wonder that men wonder that those of them who like the most refined, the most complex music, who can cry when they listen to it, can at the same time be able of ferocity. Art is not the opposite of barbary. Reason is not contradictory to violence.
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