- Title Pages
- Text I
- Text II
ICentaur-songs: Romanticism and broken forms
- Text III
2Singing the unspeakable
- Text IV
3‘God was in France all Friday’: incoherence from the inside
- Text V
4Sea-changes: minimal texts as regenerative forms
- Text VI
5Forgetting as in(ter)vention: memory and context in very short songs
6Beating time: resistance and the subaltern voice in prison work songs
- Text VIII
7Fragments and fringes: the view from the centre
8The intertextuality of the song fragment
- Intertexts: contexts
- Works cited
- Index of songs
- General index
- (p.224) (p.225) Conclusion
- Fragments and Meaning in Traditional Song
- British Academy
This chapter discusses the major conclusions that can be gathered from the previous chapters. It determines that fragments and fragmentary styles are reinvented with each literary generation. For the writers in the early twentieth century, broken forms have been considered as a way to convey absences and emptiness, and even the breakdown of communication. The chapter also shows how the fragment has become an emblem of the discontinuous and rapidly changing nature of the postmodern condition. Stripped down songs, folk-song scholarship, and other important concepts are discussed and reviewed.
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