Songs of War: The Voice of Bertran de Born
The sirventes or political songs composed by the troubadour Bertran de Born in the second half of the twelfth century in order to foment strife among the political leaders of his day provide the springboard for an enquiry into the relationship between “music” and “noise” undertaken in the light of p...
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| Опубликовано в: : | URI:https://journals.openedition.org/transposition, |
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| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
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Transposition
2020
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| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:transposition_3785 |
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openedition |
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openedition-oai:revues.org:transposition_3785 https://doi.org/10.4000/transposition.3785 urn:doi:10.4000/transposition.3785 en https://journals.openedition.org/transposition/3785 2020-03-19T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmcj https://creativecommons.org/licenses/by-sa/4.0/ Songs of War: The Voice of Bertran de Born Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Kay, Sarah guerre voix performance cris silence Lacan troubadours voice performance war scream silence Lacan troubadours The sirventes or political songs composed by the troubadour Bertran de Born in the second half of the twelfth century in order to foment strife among the political leaders of his day provide the springboard for an enquiry into the relationship between “music” and “noise” undertaken in the light of psychoanalytic theory. Jacque Lacan’s concept of “voice” situates both “noise” and “music” in relation to the traumatic scream and silence of a newborn baby. Bertran’s explicit themes of love and war may seem more responsive to the notion of “intimate revolt” put forward by Julia Kristeva, which would locate them at some distance from this originary trauma, and yet the sonic dimension of the troubadour’s songs mediates between noise and music in such a way as to threaten the opposition with collapse, while the superimposition of love and war and the threat of death make it possible to envisage performances of these songs in which the singing voice might also evoke the primary, traumatic experiences of silence and the scream Les sirventes ou chansons politiques composés par le troubadour Bertran de Born dans la seconde moitié du 12e siècle pour fomenter la guerre entre les grands de son époque, servent ici de tremplin à une enquête sur le rapport entre « musique » et « bruit » menée à la lumière de théories psychanalytiques. Le concept de la voix formulé par Jacques Lacan situe « bruit » et « musique » en rapport avec le cri et le silence traumatiques de l’enfant naissant. Si les motifs de l’amour et la guerre chez Bertran répondent plutôt à la notion de « révolte intime » proposée par Julia Kristeva, ce qui les situerait dans un contexte symbolique bien loin de ce trauma originel, il n’en reste pas moins que la dimension sonore des chansons de ce troubadour révèle une médiation entre bruit et musique capable de confondre les deux termes, alors que la superposition de l’amour et de la mort, et la menace d’anéantissement, permettent d’en envisager des réalisations où la voix chantante évoquerait aussi le cri et le silence traumatiques primaires. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
guerre voix performance cris silence Lacan troubadours voice performance war scream silence Lacan troubadours |
| spellingShingle |
guerre voix performance cris silence Lacan troubadours voice performance war scream silence Lacan troubadours Kay, Sarah Songs of War: The Voice of Bertran de Born |
| description |
The sirventes or political songs composed by the troubadour Bertran de Born in the second half of the twelfth century in order to foment strife among the political leaders of his day provide the springboard for an enquiry into the relationship between “music” and “noise” undertaken in the light of psychoanalytic theory. Jacque Lacan’s concept of “voice” situates both “noise” and “music” in relation to the traumatic scream and silence of a newborn baby. Bertran’s explicit themes of love and war may seem more responsive to the notion of “intimate revolt” put forward by Julia Kristeva, which would locate them at some distance from this originary trauma, and yet the sonic dimension of the troubadour’s songs mediates between noise and music in such a way as to threaten the opposition with collapse, while the superimposition of love and war and the threat of death make it possible to envisage performances of these songs in which the singing voice might also evoke the primary, traumatic experiences of silence and the scream |
| author |
Kay, Sarah |
| author_facet |
Kay, Sarah |
| author_sort |
Kay, Sarah |
| title |
Songs of War: The Voice of Bertran de Born |
| title_short |
Songs of War: The Voice of Bertran de Born |
| title_full |
Songs of War: The Voice of Bertran de Born |
| title_fullStr |
Songs of War: The Voice of Bertran de Born |
| title_full_unstemmed |
Songs of War: The Voice of Bertran de Born |
| title_sort |
songs of war: the voice of bertran de born |
| publisher |
Transposition |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/transposition |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.3785 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/3785 |
| _version_ |
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