2020/09/01 by A. Richard Kingston · 1 citation
Arts and Humanities · Psychology · Social Sciences · #Abandonment (legal) #Art #Biography #Gender studies #History #Human sexuality #Impossibility #Literature #Literature, Musicology, and Cultural Analysis #Music History and Culture #Musical #Musicology and Musical Analysis #Philosophy #Psychoanalysis #Psychology #Queer #Sociology
paper · doi:10.1215/10407391-8662160
openalex publication_date 2020/09/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/05/21
The music of the spectralist composer Claude Vivier is often considered through the lens of autobiography. However, from his abandonment as an infant to the circumstances of his murder at the age of thirty-four, certain aspects of Vivier’s life also seem to resist any straightforwardly autobiographical account. Borrowing the concept of “autothanatography” from Jacques Derrida and others, this essay explores how Vivier’s works inscribe a relationship to death, to the end and impossibility of autobiography, into its very origin. I argue that such an inscription occurs prominently in Vivier’s musical and dramatic portrayals of childhood, particularly those in Kopernikus: Opéra—Rituel de mort and Lonely Child. Drawing on Kathryn Bond Stockton’s writing on queer childhood and Lee Edelman’s early essay on homographesis, I further argue that this displacement of the autobiographical in Vivier’s works is also marked by his sexuality, or, more precisely, by its spectral repercussions.