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French-Canadian composer Claude Vivier (1948–1983) is one of the few composers, perhaps the only one, to use an invented language throughout his entire compositional career. Vivier's use of what he called his langue inventée (‘invented language’) spanned the first vocal work in his catalogue – Ojikawa (1968) – to his final work, Glaubst du an die Unsterblichkeit der Seele (1983), completed only shortly before his murder in March 1983. Despite the pervasiveness of this technique – in fact, it is the only technique that remains a constant across all of Vivier's stylistic periods – relatively little attention has been given to the langue inventée in scholarship. This article presents a description of Vivier's langue inventée in three parts, beginning with a general introduction. The second part presents the langue inventée as a product of automatic writing and engages directly with Vivier's sketches to propose a method that Vivier likely used to write much of his langue inventée text. The final section of the article presents Vivier's langue inventée as a form of grammelot – a term revived by playwright, actor and director Dario Fo (1926–), which is associated with the dialect theatre of the Commedia dell'arte tradition. This article aims to demonstrate that Vivier's langue inventée is not a just a string of unintelligible nonsense syllables, but rather a very purposeful grammelot, freely composed in a two-stage approach to automatic writing, that reaches beyond linguistic semantics.
French-Canadian composer Claude Vivier (1948–1983) is one of the few composers, perhaps the only one, to use an invented language throughout his entire compositional career. Vivier's use of what he called his langue inventée (‘invented language’) spanned the first vocal work in his catalogue – Ojikawa (1968) – to his final work, Glaubst du an die Unsterblichkeit der Seele (1983), completed only shortly before his murder in March 1983. Despite the pervasiveness of this technique – in fact, it is the only technique that remains a constant across all of Vivier's stylistic periods – relatively little attention has been given to the langue inventée in scholarship. This article presents a description of Vivier's langue inventée in three parts, beginning with a general introduction. The second part presents the langue inventée as a product of automatic writing and engages directly with Vivier's sketches to propose a method that Vivier likely used to write much of his langue inventée text. The final section of the article presents Vivier's langue inventée as a form of grammelot – a term revived by playwright, actor and director Dario Fo (1926–), which is associated with the dialect theatre of the Commedia dell'arte tradition. This article aims to demonstrate that Vivier's langue inventée is not a just a string of unintelligible nonsense syllables, but rather a very purposeful grammelot, freely composed in a two-stage approach to automatic writing, that reaches beyond linguistic semantics.
Literary orientalism is construed in myriad ways, and focusing on its eighteenthcentury manifestations hardly limits the range of interpretations. Here it is understood in terms of the representational practices and motivations inhering in European-authored texts treating cultures to the east of Europe. The epistemological aftermath of the age of exploration, galvanized by the will to global commerce, put an unprecedented number of Turkish, Persian, Arab, Indian, Tartar, Chinese, Japanese and other personages on the pages of erudite and popular literature. Current criticism of these works pivots largely on Said's influential study Orientalism , concomitant with its many mediations by scholars investigating orientalism's intersections with imperialism, feminism, postcolonialism, and other ideological stances. The implications of nationalism and colonialism for eighteenthcentury representations of Asian peoples vary considerably, depending on whether one believes that portrayals of eastern others in this period were as yet unsullied, and even benign, or, conversely, that these elaborations exploited their subjects as intensely and perniciously as did their nineteenth-century counterparts. In either case, critics focus on the instrumentalization of the eastern other in the cultural work of the European. British and French texts still inspire the majority of studies. More and more, however, analyses of eighteenth-century German, Russian, Italian, and Spanish writings accompany them. The scholarly fields most fecund for orientalist investigations include theatre, both spoken and musical, translation studies, women's and gender studies, and travel literature.
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