%0 Generic
%A Kupfer, Diana
%D 2011
%F heidok:13505
%K literaturvertonungen , sprachmusik , selbstreferenzialität , mediale hierarchie , enantiodromiaintermediality , postmodernism ,  self-referentiality , mise en abyme , enantiodromia
%R 10.11588/heidok.00013505
%T "Nec tecum nec sine te" : Language-Music Interplays in Musical Responses to Samuel Beckett
%U https://archiv.ub.uni-heidelberg.de/volltextserver/13505/
%X Intermediality is rarely a one-way street: Throughout his career, Samuel Beckett employed a variety of modes of expression and media in his works, and – vice versa – it is partly owing to the strong role played by music in his works that Samuel Beckett's works figure so prominently in compositional history from 1930 to the present day. In fact, with more than 250 Beckett-based compositions of different genres and styles and from various countries responding to virtually the entire Beckettian œuvre, Beckett's poems, plays and prose have exerted an influence on composers unequalled by those of any other 20th-century author. This study shows that Beckett's double-coded language, sounds and images have served as a blueprint for crossing medial and social gaps in favor of a de-hierarchization of both the author-audience relationship and the intermedial interplay. As a result of this paradigm shift toward more participatory artistic modes and toward a postmodern "radical pluralization" (Wolfgang Welsch) of meaning and expressive vehicles, Beckett regarded music as an equal interlocutor of language and, vice versa, composers have become more receptive to entirely new modes of text-setting. "Nec tecum nec sine te," a Latin phrase by Ovid cited by Beckett to describe the double-edged relationship between Hamm and Clov from Endgame – interdependent yet noncommittal – equally applies to the text-music interplays portrayed in the present work.