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From Literature to Song Three Cases of Intermedial Transposition

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From Literature to Song Three Cases of Intermedial Transposition From Literature to Song Three Cases of Intermedial Transposition Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Michael Franz LANG am Institut für Anglistik Begutachter: Ao. Univ.-Prof. i. R. Mag. Dr. phil. Walter Bernhart Graz, 2009 TABLE OF CONTENTS 1. INTRODUCTION................................................................................................. 4 2. MUSIC: MCKENNITT, WORDS:TENNYSON – “THE LADY OF SHALOTT”.... 6 2.1. Introduction............................................................................................................................................. 6 2.2. Overview of Tennyson’s “The Lady of Shalott” .................................................................................. 6 2.2.1. Victorian Society ................................................................................................................................. 6 2.2.1.1. Rise of the Industrial Age........................................................................................................... 6 2.2.1.2. (Dis)Trust in Modernity ............................................................................................................. 7 2.2.1.3. Tennyson and Victorian Social Values....................................................................................... 8 2.2.1.4. Science vs. Religion ................................................................................................................... 9 2.2.1.5. The Gothic Revival (Victorian Medievalism and Historicism)................................................ 10 2.2.2. Tennyson’s Career ............................................................................................................................. 10 2.2.3. Tennyson’s Reputation ...................................................................................................................... 11 2.2.4. The Pre-Raphaelite Brotherhood........................................................................................................ 12 2.2.5. The Poem: “The Lady of Shalott”...................................................................................................... 12 2.2.5.1. Form ......................................................................................................................................... 13 2.2.5.2. Outline...................................................................................................................................... 13 2.2.5.3. Interpretation/Readings ............................................................................................................ 14 2.3. The song................................................................................................................................................. 14 2.3.1. Formal Structure of the Song ............................................................................................................. 14 2.3.2. Harmonic and Melodic Structures ..................................................................................................... 15 2.3.2.1. The D-major-stanzas ................................................................................................................ 16 2.3.2.2. The B-minor-Stanzas................................................................................................................ 19 2.3.3. Interpretation...................................................................................................................................... 20 2.3.3.1. Tonality .................................................................................................................................... 20 2.3.3.2. Present vs. Past ......................................................................................................................... 21 2.3.3.3. Stasis vs. Dynamics.................................................................................................................. 24 2.3.3.4. The Role of Women ................................................................................................................. 27 2.3.3.5. Artist vs. Public ........................................................................................................................ 30 2.4. Summary ............................................................................................................................................... 32 3. PUTTING A RIME INTO A RIME, AGAIN: “THE RIME OF THE ANCIENT MARINER” ............................................................................................................... 34 3.1. Introduction........................................................................................................................................... 34 3.2. The Rise of Romanticism ..................................................................................................................... 34 3.2.1. Characteristic Features of Romanticism ............................................................................................ 35 3.2.2. Coleridge and Wordsworth: Lyrical Ballads ..................................................................................... 36 3.3. Coleridge’s Approach to Poetry .......................................................................................................... 37 3.3.1. Coleridge on Imagination................................................................................................................... 38 3.3.2. Coleridge and the Supernatural.......................................................................................................... 39 3.3.3. Coleridge and Morals......................................................................................................................... 40 3.4. “The Rime of the Ancient Mariner” ................................................................................................... 41 3.4.1. Form................................................................................................................................................... 42 3.4.2. Outline ............................................................................................................................................... 42 3.4.3. Interpretations / Readings .................................................................................................................. 43 2 3.5. The Song by Iron Maiden .................................................................................................................... 46 3.5.1. Musical Form..................................................................................................................................... 46 3.5.1.1. Part One.................................................................................................................................... 46 3.5.1.2. Part Two ................................................................................................................................... 47 3.5.1.3. Part Three ................................................................................................................................. 48 3.5.1.4. Part Four................................................................................................................................... 48 3.5.2. Lyric Form ......................................................................................................................................... 48 3.5.3. Close Analysis of Music and Lyrics .................................................................................................. 50 3.5.3.1. Part One.................................................................................................................................... 50 3.5.3.2. Part Two ................................................................................................................................... 55 3.5.3.3. Part Three ................................................................................................................................. 57 3.5.3.4. Part Four................................................................................................................................... 58 3.5.3.5. Part Five ................................................................................................................................... 60 3.6. Summary ............................................................................................................................................... 64 4. FROM LITERATURE TO FILM TO SONG: HEART OF DARKNESS .............. 67 4.1. Introduction........................................................................................................................................... 67 4.2. Joseph Conrad ...................................................................................................................................... 67 4.2.1. Conrad’s Time ................................................................................................................................... 69 4.2.1.1. Historical Background and Politics .......................................................................................... 69 4.2.1.2. Literature and Art ..................................................................................................................... 70 4.2.1.3. Philosophical Tendencies ........................................................................................................
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