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Gestural rhetoric: In search of pan...

Law, Sin-Yan Hedy.

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Gestural rhetoric: In search of pantomime in the French Enlightenment, ca. 1750--1785.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Gestural rhetoric: In search of pantomime in the French Enlightenment, ca. 1750--1785./
Author:	Law, Sin-Yan Hedy.
Description:	495 p.
Notes:	Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1725.
Contained By:	Dissertation Abstracts International68-05A.
Subject:	Literature, Romance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3262257
ISBN:	9780549016205

Gestural rhetoric: In search of pantomime in the French Enlightenment, ca. 1750--1785.
Law, Sin-Yan Hedy.

Gestural rhetoric: In search of pantomime in the French Enlightenment, ca. 1750--1785. - 495 p.

Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1725.

Thesis (Ph.D.)--The University of Chicago, 2007.

This dissertation explores the linguistic transformation of instrumental music in mid-eighteenth century France from the perspective of gesture. My research demonstrates that changing concepts of music in the third quarter of the eighteenth century are closely related to beliefs in the rhetorical efficacy of gesture, silence, and muteness. As with the original cry in the Enlightenment theories of the origin of language, gesture connected music with language; it facilitated formations of metaphors that allowed contemporaries to understand music in terms of language. For French thinkers, most notably Denis Diderot, the theoretical proximity between gesture and muteness enabled a rehabilitation of ancient Roman pantomime in the proposed reform of French theater and theatrical dance. Pantomime was no longer a farcical genre performed in early eighteenth-century fair theaters; it opened up a conceptual universe shared with instrumental music, painting, and sign language. It was on this epistemological basis that instrumental music drew a myriad of meanings from silence, inarticulate speech, and gesture. Along philosophers writing on gesture, composers including Couperin, Rameau, Rousseau, Gretry, Gluck, Salieri, and Gossec contrived new musical meanings out of the interplay of muteness and verbal language in their operas, instrumental pieces, and ballet-pantomimes. By reconstructing ways in which composers introduced specific meanings to muteness, as revealed from a range of sources, from music manuscripts, librettos, first editions, and reviews to correspondence and critical editions, I argue that the rhetorical efficacy of gesture played as formative a role in the development of instrumental music as the metaphor of rhetoric did for musical form.

ISBN: 9780549016205Subjects--Topical Terms:

1019014
Literature, Romance.

Gestural rhetoric: In search of pantomime in the French Enlightenment, ca. 1750--1785.
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100 1 $a Law, Sin-Yan Hedy. $3 1924332
245 1 0 $a Gestural rhetoric: In search of pantomime in the French Enlightenment, ca. 1750--1785.
300 $a 495 p.
500 $a Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1725.
500 $a Adviser: Martha Feldman.
502 $a Thesis (Ph.D.)--The University of Chicago, 2007.
520 $a This dissertation explores the linguistic transformation of instrumental music in mid-eighteenth century France from the perspective of gesture. My research demonstrates that changing concepts of music in the third quarter of the eighteenth century are closely related to beliefs in the rhetorical efficacy of gesture, silence, and muteness. As with the original cry in the Enlightenment theories of the origin of language, gesture connected music with language; it facilitated formations of metaphors that allowed contemporaries to understand music in terms of language. For French thinkers, most notably Denis Diderot, the theoretical proximity between gesture and muteness enabled a rehabilitation of ancient Roman pantomime in the proposed reform of French theater and theatrical dance. Pantomime was no longer a farcical genre performed in early eighteenth-century fair theaters; it opened up a conceptual universe shared with instrumental music, painting, and sign language. It was on this epistemological basis that instrumental music drew a myriad of meanings from silence, inarticulate speech, and gesture. Along philosophers writing on gesture, composers including Couperin, Rameau, Rousseau, Gretry, Gluck, Salieri, and Gossec contrived new musical meanings out of the interplay of muteness and verbal language in their operas, instrumental pieces, and ballet-pantomimes. By reconstructing ways in which composers introduced specific meanings to muteness, as revealed from a range of sources, from music manuscripts, librettos, first editions, and reviews to correspondence and critical editions, I argue that the rhetorical efficacy of gesture played as formative a role in the development of instrumental music as the metaphor of rhetoric did for musical form.
520 $a More broadly, I argue that the obsession with pantomime in the Enlightenment cast doubt on the dominant mimetic theory. When pondering closely the nature of imitation through the medium of pantomime, eighteenth-century thinkers, actors, choreographers, and composers collectively discovered the limits of representation. Pantomime provided an exceptional medium for unloosing the conceptual bond between the signifier and signified. Being tempted by the freedom in pantomime to re-present the word, French Enlightenment thinkers paradoxically contested the epistemological foundation of mimetic theory, questioned the nature of representation, and established expression as a conceptual derivative of imitation.
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650 4 $a Language, Rhetoric and Composition. $3 1019205
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710 2 0 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 68-05A.
790 1 0 $a Feldman, Martha, $e advisor
790 $a 0330
791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3262257