Each Played Note is The Note of Some Cantata
DOI:
https://doi.org/10.35520/diadorim.2025.v27n1a67807Abstract
This article aims to analyze the transtextualities present in Bach (2014), a Pedro Eiras’ book, arguing that the work also functions as a cantata. Drawing on the theories of Gérard Genette, Roland Barthes, Étienne Souriau, and Georges Bataille regarding intertextuality and interarts discourse, the paper explores the textual legacies and voices from different times and spaces within the book. The analysis seeks to highlight how Eiras constructs a network of meanings between these voices, which are not directly related except through the evocation of Bach by all of them.
Downloads
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Copyright transfer -- Authorization to publication
If the submitted article is approved for publication, it is already agreed that the author authorizes UFRJ to reproduce it and publish it in Diadorim: revista de estudos linguísticos e literários, the terms "reproduction" and "publication" being understood as defined respectively by items VI and I of article 5 of Law 9610/98. The article can be accessed both by the World Wide Web (WWW) and by the printed version, with free consultation and reproduction of a copy of the article for the own use of those who consult. This authorization of publication is not limited in time, and UFRJ is responsible for maintaining the identification of the author of the article.
The journal Diadorim: revista de estudos linguísticos e literários is licensed under a Creative Commons Attribuition-NonCommercial 4.0 International (CC BY-NC 4.0).
