Abstract
This research scrutinizes contrafactum, i.e. a medieval musical practice where an existing melody is paired with new lyrics, leading to the convergence of sacred and secular elements, in literature with a special focus on its intertextual nature. There exists a noticeable gap in scholarly discussions concerning contrafactum in literature as the phenomenon has been predominantly explored by Deeming, Hagen, Berger, Saltzstein and Rose-Steel within the realm of music. A limited number of studies have examined its literary implications, with only two scholars, Breuer and Ángeles-Ruiz, addressing a contrafactum in the literary context. This gap highlights the need for a comprehensive exploration of contrafactum within the domain of literature. Applying contrafactum as an analytical method for intertextual relations, the specific aim is to explore literary and cultural transformations in the contemporary era marked by secularization. Besides the musical scholars’ definitions, this research draws on intertextuality theories, prominently influenced by the works of Borges, Kristeva, Bakhtin, and Barthes. Employing a comparative method, the texts and media under scrutiny encompass a diverse array, spanning from literary texts to archetypes, world building, and beyond. The results show that contrafactum goes beyond the limits of music and has numerous manifestations in other texts and media. As a result of investigating this dynamic interplay, we gain a stronger appreciation for how texts, cultures evolve.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
LITERATURE, INTERTEXTUALITY, CONTRAFACTUM, MEDIA, SACRED, SECULAR, CULTURE
