Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know
The influence of musical traditions on Ciaran Carson’s work has long been noted. Carson’s use of fugue forms, especially in For All We Know (2008), however, suggests a different, and perhaps more political, relation to form than can be found in his earlier collections. As can be seen with comparison...
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European Federation of Associations and Centres of Irish Studies
2016-07-01
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| Series: | Review of Irish Studies in Europe |
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| Online Access: | https://www.imageandnarrative.be/index.php/rise/article/view/1240 |
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| author | Timothy C. Baker |
| author_facet | Timothy C. Baker |
| author_sort | Timothy C. Baker |
| collection | DOAJ |
| description | The influence of musical traditions on Ciaran Carson’s work has long been noted. Carson’s use of fugue forms, especially in For All We Know (2008), however, suggests a different, and perhaps more political, relation to form than can be found in his earlier collections. As can be seen with comparison to the work of Paul Celan, Carson uses fugue to navigate through what Pierre Nora calls the ‘fundamental opposition’ between memory and history. The doubling and repetition inherent to fugal forms provide a way to reconceptualise the past, highlighting the interrelation of multiple corresponding voices. Carson, like Celan, uses fugue to approach historical moments that resist language, and in so doing reconceptualises the demands the past makes on the present, and the ability of language to reflect those demands. |
| format | Article |
| id | doaj-art-c2a732e8f8564cb68c29a9657cff1eb2 |
| institution | DOAJ |
| issn | 2398-7685 |
| language | English |
| publishDate | 2016-07-01 |
| publisher | European Federation of Associations and Centres of Irish Studies |
| record_format | Article |
| series | Review of Irish Studies in Europe |
| spelling | doaj-art-c2a732e8f8564cb68c29a9657cff1eb22025-08-20T03:07:43ZengEuropean Federation of Associations and Centres of Irish StudiesReview of Irish Studies in Europe2398-76852016-07-0111Second Time Round: Fugal Memory in Ciaran Carson’s For All We KnowTimothy C. Baker0University of AberdeenThe influence of musical traditions on Ciaran Carson’s work has long been noted. Carson’s use of fugue forms, especially in For All We Know (2008), however, suggests a different, and perhaps more political, relation to form than can be found in his earlier collections. As can be seen with comparison to the work of Paul Celan, Carson uses fugue to navigate through what Pierre Nora calls the ‘fundamental opposition’ between memory and history. The doubling and repetition inherent to fugal forms provide a way to reconceptualise the past, highlighting the interrelation of multiple corresponding voices. Carson, like Celan, uses fugue to approach historical moments that resist language, and in so doing reconceptualises the demands the past makes on the present, and the ability of language to reflect those demands.https://www.imageandnarrative.be/index.php/rise/article/view/1240Ciaran CarsonPaul CelanPoetryNorthern Irish PoetryMusic |
| spellingShingle | Timothy C. Baker Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know Review of Irish Studies in Europe Ciaran Carson Paul Celan Poetry Northern Irish Poetry Music |
| title | Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know |
| title_full | Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know |
| title_fullStr | Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know |
| title_full_unstemmed | Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know |
| title_short | Second Time Round: Fugal Memory in Ciaran Carson’s For All We Know |
| title_sort | second time round fugal memory in ciaran carson s for all we know |
| topic | Ciaran Carson Paul Celan Poetry Northern Irish Poetry Music |
| url | https://www.imageandnarrative.be/index.php/rise/article/view/1240 |
| work_keys_str_mv | AT timothycbaker secondtimeroundfugalmemoryinciarancarsonsforallweknow |