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Rousseau and the Lyric Natural: the Self As Representation Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Rousseau and the Lyric Natural: The elS f as Representation. Pamela Diane Gay Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gay, Pamela Diane, "Rousseau and the Lyric Natural: The eS lf as Representation." (1998). LSU Historical Dissertations and Theses. 6829. https://digitalcommons.lsu.edu/gradschool_disstheses/6829 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the tract directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ROUSSEAU AND THE LYRIC NATURAL: THE SELF AS REPRESENTATION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of French and Italian by Pamela Diane Gay B.A., University of California at Berkeley, 1977 M.A., Hunter College, the City University of New York, 1989 December 1998 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9922078 Copyright 1998 by Gay, Pamela Diane All rights reserved. UMI Microform 9922078 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright 1998 Pamela Diane Gay All rights reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to express my appreciation to those without whose encouragement this dissertation would not have been completed. In addition to thanking my Director and Chair of the Department of French and Italian, Dr. Jefferson Humphries, for his support, I wish to give special thanks to Dr. Adelaide Russo, my second reader, for her continued encouragement and patience and to Dr. John Lowe for his knowledge and input on the history of opera. I also wish to thank other members of my committee, colleagues, and friends at LSU and elsewhere who have been o f great support; these include, among others Dr. Gregory Stone, Dr. Patrick Fitzgerald, Dr. Garrett McCutchan, Mr. Gerry Anders, Christine, Heather, and David. I am equally indebted to musicologists Dr. Jennifer Brown and Dr. James Guthrie for their support and consultation concerning the musical background of this work. Finally, I wish to thank my sister for the many stop-overs in Washington and emotional support which has sustained me throughout its writing. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Acknowledgments........................................................................................................... iii Abbreviations .......................................................................................................................vi Abstract ........................................................................................................................... vii Introduction......................................................................................................................... 1 Rousseau and the Lyric N atural....................................................................................... 1 Rousseau as Philosopher of Music and Language......................................................... 15 Rousseau and the Reformulation of Opera................................................................... 19 Chapter One Rousseau, the Natural, and the Lyric: Eighteenth-Century Beginnings ................................................................................ 27 Defining the Natural ...................................................................................................... 33 Music and Origins of Culture......................................................................................... 44 The Lyric Natural as Text ........................................................................................... 51 Aesthetic Doctrines ........................................................................................................ 53 Nature: The Terrible and the Sublime .......................................................................... 60 The Public Presence of the Lyric Stage ....................................................................... 65 Rousseau and the Supplementarity of the L y ric........................................................... 70 The Lyric Idealized ........................................................................................................ 73 Chapter Two The Autobiographical Emblem in Early Lyric W orks ............................................ 78 La Decouverte du nouveau m onde................................................................................ 94 L es M uses g a la n te s ...................................................................................................... 101 Of Music and the E s s a i................................................................................................ 108 Song as S ig n ................................................................................................................. 114 Chapter Three Le Devin du village: Of the Country as Utopia .................................................... 117 Formal Oppositions in the Libretto ............................................................................ 134 The Pastoral Staged: Representation of the N atural .................................................. 146 The Pastoral as Tableau: Le Devin du village and La Nouvelle H eloise.................. 150 The Music ofLe D evin ...................................... 155 Rewritings of L e D e v in ................................................................................................ 160 Chapter Four P ygm alion: The Natural and the Representation of S elf ..................................... 168 A Reading of the Libretto ........................................................................................... 194 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Lyric Indeterminacy ...................................................................................................... 207 Rousseau the Absent Orator ...................................................................................... 216 Theatricality as Sign .................................................................................................... 229 History of the Libretto ................................................................................................. 232 Conclusion................................................................................................................... 247 Selected Bibliography .....................................................................................................254 V ita.................................................................................................................................... 259 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABBREVIATIONS Conf. Jean-Jacques Rousseau,Les Confessions. In OC. DM Rousseau,Dictionnaire de musique. In OC. DNM Rousseau,La Decouverte du nouveau monde. In OC. DOI Rousseau,Discours sur I'origine d’inegalite.
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