Universität Mannheim

Anglistisches Seminar

Lehrstuhl für Amerikanische Literature – und Kulturwissenschaft (Anglistik III)

Literature, Music, Sound Studies

Dozentin: Ulfried Reichardt

Term Paper

The Musicalization of Fiction in Michael Ondaatje’s Coming Through

Slaughter

Carlos Rodríguez Vidondo

Fall Semester 2014

Student ID: 1478177

Medien und Komunikation Wissenschaft

Parkring 35, 68159, MANNHEIM

crvidondo@hotmail.com

The Musicalization of Fiction

in Michael Ondaatje’s Coming Through Slaughter (1976)

1. Introduction: Covert Intermediality in Narrative Literature ................................................... 1

2. The Musical Structure in Coming Through Slaughter ............................................................. 3

2.1. Three-Part Fragmentation and temporal shifts .............................................................. 4

2.2. Lineal Polyphony: alternative point of views and several voices ................................... 6

3. Decoding the Potential Evidences in the musical novel ......................................................... 7

3.1. Rhythm, speed and punctuation ..................................................................................... 7

3.2. Rhyme and poetry ........................................................................................................... 9

3.3. Other signifiers: voice pronunciation and sounds imitation ......................................... 11

4. Conclusion ............................................................................................................................. 12

5. Bibliography .......................................................................................................................... 13

6. Statement of Non-Plagiarism ................................................................................................ 13

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1. Introduction: Covert Intermediality in Narrative Literature

When we speak of Narrative Literature we, mainly, have to set down that we refer to an

art based on a primary semiotic system as it is the language, conformed of a set of signs

and rules that we call ‘grammar’. These whole aggregate of signs means something or

have a signification, i.e., the social conventionalized association between the red or

green traffic lights to stop and to cross the street, respectively, so it means that some

kind of communication pre-exists. Any art form, from literature to painting, music,

plastic arts, scenography or combined arts such as audio-visual, has a way to

communicate something, express feelings, thoughts or actions, and each of them are

governed by its own grammar, which in many cases is not very different from one to

another.

Bearing in mind that it exists a wide range of hierarchies among the arts and their various

semiotic systems constructed to communicate, we can easily find some similarities and

differences between them that could bring them closer in terms of form, but not in

content, what means that some of them could share a common semiotic status. Werner

Wolf points out that we can hardly find out twin arts but the comparability between two

media could make them be sister arts in the way they are ‘translable’ or, at least,

compatible one into each other. In the case at hand, is easy to find similarities between

the music form and literature, more over when getting closer from vocal music to lyric

poetry (verbal art) in terms of the acoustic channel they both share: harmony, timbre,

volume, rhythm, structure, etc., even when verbal art couldn’t create the same aural

reality or atmosphere as music does, due to, in this case, that sound is not prevailing or

dominant and its dependence on the use of words. But, because of its nature, poetry

distances from language and it gets closer to music, accentuating the meter and making

it strange for the reader. “Music is purely syntactic, but not semantic, it signifies itself”

(Petermann 32) due to it has no referent outside in the real world as the linguistic signs

do, so it means that if music leaves aside the ‘content’ it would be easy to adapt its form,

structures and techniques inside the text, emerging out what it is known as the Musical

Novel, in which music is not materially present but evoked.

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Black music in the early XXth century has been distinguished by its rhythmic, jazzy, wild

and emotional attributes, originated by the African American population located in the

state of Louisiana, years before de Civil War. This cultural understanding of sound seems

to be, probably, easy to adapt into the literary world, because of its unique attributes of

rhythm, timbre and variations, that is why we could find many examples of musical

novels based on jazz music, or what Wolf defines as musicalization of fiction. As is told,

the synergy between music and the text is based not merely on its translation or

substitution onto each other (which seems to be impossible, due to they are different

semiotic systems) but its adaption, addition or evocation through “the reproduction of

impressions on the reader that may be similar to those produced by the music”

(Petermann 3). The musical atmosphere that invade the text does not transform it in

any way, but sound is perceived by the evocation or imitation of its form, placing it

inside, trying to make the words more spherical and subjective.

This concept of ‘imitation’ is born into the boundaries of what Peterman and other

authors describe as the theory of Intermediality, in which it is defined the relationships

between media products that conformed a whole single work, after overcoming the

adaptation process. A product is not intermedial itself, but shows intermediality when

the audience appreciate the presence of a foreign medium that is evoked or imitated

into the dominant one, i.e., in the case of literature, a novel which make use of filmic

techniques. If we focus in the intermedial relation between music and literature, it can

be seen an explicit transfer of the musical genre into the novel, i.e., in the title or the

main epigraphs/chapters as an example of thematization and contextualization; but also

an implicit imitation into the content, by using variations of the structure, evoking a

particular feeling during the performance, showing the fluency of improvisation,

employing different voices or ‘jumping’ through the time.

Intermediality allows us to link together both arts by searching for similitudes into the

text notation, such as relating a ‘chapter’ with a ‘movement’ in a musical work, ‘verses’

with ‘music bars’, a ‘sentence’ with a ‘motif’, ‘words’ with ‘melodies’, and ‘phonemes’

with ‘notes, as if we are speaking the same language. By definition, it could exist

contextual evidences, which are more peripheral and, in fact, explicit to the reader, such

as the cultural context, author’s knowledge and experience with both arts or direct

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comments, details and testimonies above it; but also and more decisive to define a

musical novel are the implicit textual evidences it could be found during the reading,

such as acoustic foreground like timbre, volume or rhythm, syntactic structures playing

with the speed of the narration, embellishment and opacity of the storytelling, call and

response riffs, or the use of repetition patterns, etc. There is no way to recognize a

musicalized fiction in the surface, because it does not exist simply out there,

intermediality is covered and implicit, so the reader has the responsibility to “dis-cover”

or decode the potential evidences by using a critical discourse and its own knowledge in

its musical capabilities to understand the subjective effect of mixing two media. The

reader must be opened and aware to perceive it, just because sometimes the musical

effect produces a defamiliarization with the ordinary language, making it better to be

heard than to be seen, with lack in coherent narrative rules, but full of musicalness and

rhythm.

2. The Musical Structure in Coming Through Slaughter

As I said in the previous chapter, musicalization of fiction is not a question answered by

‘yes’ or ‘no’, but ‘more’ or ‘less’ due to it is tough to strictly overturn one specific

medium into another, and because it is about the reader’s work to find out the musical

stimuli, and read the text as hearing music, what becomes unnatural in some ways.

However, there are some literary techniques and devices that could introduce music

inside the words, and as long as we distances ourselves from the novel and take a bird’s-

eye overview of it we can appreciate the musical structure.

Generally, textual imitation of music in literature could be done in two different

manners, as an imitation of a single musical work, it means the novel is based on a

specific piece that plays a role in a large scale during the storyline; or by imitating a

musical genre, basically jazz or classical music, which does not mean to reproduce a

piece or a single performance but to show the genre as a whole context that spreads

along the narration. This last branch, which many authors define as jazz novels, uses the

explicit thematization even in the novel’s title or by naming the chapters with a musical

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reference (Ch. 3: “The Key Note”), as a metaphor that refers to music and sets up the

theme. Also “trains” have a deeply meaning in jazz novels, as Emliy Petermann explains

in her work (Petermann pp. 63-66), because they represent freedom, communication,

movement and rhythm, because of their percussive sound, but they have as well

common associations with jazz and blues because of the hermit and ascetic lifestyle it

enacts, moving from one place to another, as homeless crossroads. Ondaatje’s novel

does not seem to show any explicit thematization or reference in relation with jazz at

first sight, but once you have read it you realise that “Coming through Slaughter” relates

to the protagonist’s train trip through this town in the state of Louisiana, where blues

was born. The social context in which the story is submerged is pointed out right in the

first few pages, where the narrator tells us in a very well photographical description

about what it is seen from a car’s window while driving along the streets of New Orleans

and the districts where the protagonist used to pass his days, as well as a exactly

description of the decadence of the city, the hierarchies between the social classes and

the prostitution: “By the end of the Nineteenth Centuy, 2000 prostitutes were working

regularly. There were at least 70 professional gamblers. 30 piano players […].

Prostitution received a quarter of a million dollars of the public’s money a week.”

(Ondaatje 9).

2.1. Three-Part Fragmentation and temporal shifts

Coming Through Slaughter is divided in three sections named by the numbers “1”, “2”

and “3”, which separates the plot into three different stages of the storyline: a

descriptive background of Buddy Bolden’s life in the town, his mysterious disappearance

and his accommodation with the Brewitts and his return home and his insanity, finally.

But this division is not really musical in terms of seemingly to musical movements, well

the reader can hardly appreciate some kind of switch in narration speed or rhythm, but

it works as pause between chapters to change the scenography as the storyline still goes

on. What it is striking about the novel’s structure is that it consists of diverse size of text

segments, with every new narrative section starting on a new page, leaving some pages

almost empty. The story becomes fragmentary, there is no strict chronology and the

plot narration “moves around in time from the first scenes set in the 70s to various

points between 1900 and 1907” (Petermann pp.6-7), and back to 1976, etc., what it

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could means that Bolden’s music does not believe in a lineal sequence of time with one

beginning and one ending. It alternates sometimes with included fragments of

interviews (made by the so-called omniscient narrator fifty years after Bolden’s death),

a set list of songs for a live performance, a list of contemporary bands who use to play

at that time, a textual description of the last picture that remains of Bolden and the

band, and fragments of song’s lyrics like “Nora’s song” or “Train’s song”, in order to

illustrate and introduce authenticity to the narrative. In other cases we can read a whole

page just leaded by a single phrase which would make sense and be solved at the end

of the book:

“Passing wet chicory that lies in the fields like the sky” (Ondaatje 60)

The weird edition of the page layout could, in some way, mislead the reading but it also

provokes an attempt to syncopate the lecture, to switch from one time or place to

another, to relocate ourselves in the plot and relate parallel contents, making the novel

rhythmic as if it were a jazz improvisation and, definitely, musicalizing the text.

On the other hand, Ondaatje employs a very useful cinematographic tool which in film

edition is called flashback/flashforward making the narrative becomes more fresh and

smooth as an instrument improvisation, constructing variations on the theme and

introducing new melody motifs along the plot line. Chapter 1 is built surrounding a

careful depiction of Bolden’s lifestyle in his neighbourhood, his employment as a

recognized barber but even more popular as a cornet player, although never

professional in mind, and his alcohol problems despite he still being a responsible father

and husband, taking care of the children. In page 19, Ondaatje leaves the background

description and introduces a rotation point in the plot with Bolden’s disappearance,

during a conversation between Nora and Webb. Then the plot will continue with his

scape out of the town until the end of the chapter but introducing three interesting

variations in page 24, page 35 and page 42, when the author returns to the past to

explain how was the relation between this new character, the policeman Webb, and

Buddy Bolden during their youth. These motif breaks remain the reader to attend on the

plot’s temporal direction, an also giving some additional information about the

protagonist’s close relationships. In Chapter 2 is easy to find more temporal and spatial

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switches while the storyline continues, especially when the author leaves Bolden apart

and focus on Webb’s investigation, deepening in his own thoughts about the old times

and Buddy’s possible location and discovering new information from close friends, while

it describes the live Bolden is living with the Brewitts and his affair with Robin. As I said,

temporal switches and segmentation of the storyline support a rhythmic base and

theme variations that makes the narration unnatural and heavy, but also musical and

fluid.

2.2. Lineal Polyphony: alternative point of views and several voices

One of the most important differences between the semiotic language in music and

literature is Linearity. Even when they both share one same temporality, music is able

to reproduce several simultaneous sequences of sound, which could be conformed in a

juxtaposition of elements by rapid succession as an apparent single line, a feature that

in literary texts seems to be impossible. You can hear several melodies at once, but you

cannot read several lines at a time. But one thing that should be clear is that

musicalization consists on imitating one media into another, so from this point,

literature can imitate sound and suggest a simultaneous polyphony by leaping between

different parts and letting the reader’s mind to reconstruct and complete the “melody”,

creating a sense of illusion. In Ondaatje’s novel we can appreciate two different and

parallel lines surrounded the main story of the disappearance of Buddy Bolden. One of

them is the protagonist’s line in which he continue playing with a band and living at

Brewitt’s home before undertake the way back; and a second storyline in which Webb

is searching for his friend, asking to close friends about his location and nostalgic

reminding their old times together when they shared girls and wine. But also it gets

more complex while adding extra actors into the narration, explaining their point of view

about old stories they take part within the protagonist and the omniscient narrator who

speaks from the future trying to collect all the notes about Buddy Bolden’s life as the

‘father of jazz’. It is worthy of mention that the whole novel has an aura of documentary

as if someone were been interviewing people close to Buddy Bolden, asking for their

own experience with him. It is visible in the small epigraphs which sometimes appear

with the name of the band mates or neighbours, as if they were narrating in first person

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the fragment that follows. Further, the author goes into Bolden’s mind and tries to

reproduce his thoughts, turning him into the first narrator of his story.

Even when the narrative text is lineal and only one part can be played at a time, the

contrapoint of parallel lines is used as if many different instruments (voices) were

playing (telling) the same melody (story) but distinguishing each other by its own timbre,

pitch, volume and swing, characteristics that can also be seen in the human voice of

several narrators. Alternation of points of view not only gives a varied range of

perspectives about the same story, but also musicality in the way of expression, rhythm,

pauses, emotional contrasts and on what it is called modulation, when the reader is

carried from mood to mood (major to minor key as in the musical form, or vice versa).

3. Decoding the Potential Evidences in the musical novel

As I said in the lasts epigraphs, musicalization of fiction requires special abilities from

the reader to recognize the evidences and to open the ears while reading out loud, but

otherwise it does not mean to need a specific knowledge in musical structures or

interpretation. The potential evidences we can find during the reading could be more

peripheral and explicit, as it is the cultural context for an ethnic group or the atmosphere

it engages; or implicit evidences the reader can find inside the text, in which musical

notation is quoted as a rhythmic acoustic foreground.

3.1. Rhythm, speed and punctuation

One of the most important elements that provides the text with movement descriptions,

switching places and times, and imitating the character’s performance is rhythm.

“Rhythm is one of the most distinctive feature of jazz music” (Petermann 50) not only

because it permits to play various voices simultaneously but because it permits to

establish a swing pulse that creates a sense of going forward, by anticipating the beat or

lagging behind it. Anyway rhythm is less frequent in prose than in music or, at least,

there is a relative lack of rhythm, but it can be evoked by the repetition of syntactic

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figures, a high-level of compression in phrases, the uses of pauses and short stretches

of text (monosyllabic nouns and adjectives).

In the first few pages of Coming Through Slaughter just before Chapter 1 starts, Ondaatje

shows us a sonograph with three different representations of a dolphin’s sound. He

differentiates between a squawk, to locate each other by less vocalization and making

more frequencies; and a whistle in which pure sounds are more defined and precise, as

a personal signature to identify themselves; but also a mixture between the two of them

that “no one knows how a dolphin makes both whistles and echolocation clicks

simultaneously” (Ondaatje 6). The three of them are emotional expressions with

different rhythmic pattern to specific uses, and as the three pictures can imitate a sound,

also words can do it in the same way, and not only in two different lines but mixing both

in a polyphonic sense.

One of the most striking evidences of rhythm in the novel is the absence of speech marks

for dialogues, which they are sometimes included in prose lines as a part of the

narration. The only time we can see emotional verbs for depicting an action followed by

a quote in inverted commas appears in page 14, but in this case is also included inside

the text block:

“And so arrived […] saying ‘Cornish, come on, put your hands through the window’. On

into the night […].”

Sometimes character’s dialogues are presented in the traditional writing style, as an

indented block apart from the narrator’s segments but usually the whole narration uses

a quite interesting resource to provide the text with rhythm, which is to include the

dialogue into the narrative block of text. A great example follows in page 83:

“They could hear Robin through the wall in the kitchen. And that’s Robin Brewitt? Bolden

nodded into the water. And Jaelin Brewitt comes and goes. Bolden nodded. And your

music. Haven’t played a note for nearly two years. Though about it? […] you want to go

back Buddy. Webb on the edge of the enamel talking on and on, why did you do all this

Buddy? Why don’t you come back […].”

This resource is very useful to keep the reader plugged into the conversation, getting

inside the scene and trying to not get lost in narrative details. The preceding paragraph

9

could also be useful to understand how punctuation works in musicalizing the text. It

alternates long stretches of text with short phrases, sometimes no longer than one or

two words, providing the lecture with abrupt rhythmic pauses that obstruct the reading

but turning it into a sensorial experience. On the other hand, a lack of punctuation could

be profitable to engage with a high-speed frenetic action, provoking some intensity and

exhaustion in the reader and opacity of the storytelling, as we can appreciate in the

segment of page 29 and in page 35, where there is a low level of narrative recognition

because of the lack of commas and points, the use of capital letters to emphasize and

the regular employment of compound nouns (picked-up; weep-out; white-shirt-bloody-

looking, etc.).

3.2. Rhyme and poetry

As it happens in poetry, musicalization of fiction pursues to present sound in prose, even

when it is less frequent to show the musical beat in a text. Poetry distances from the

semiotic rules of language making it strange for the reader and accentuating the rhythm

by using meter, what makes us aware of its presence, even though this strangeness of

jazz sound could also be imitated in prose fiction. Poetry is a well-constructed bridge

between prose and music, which proves the theories established in the “Introduction”

about the intermediality of media product, and it is characterized by sound elements as

the division into lines or verses (similar to bars in musical sheets), the rhyme, a similar

rhythmic pattern of syllables, alliteration of phonemes, repetition of motifs and

variations, verse-chorus structure and meter.

Incoming to Ondaatje’s novel, the best example of musicalization I have found according

to these purposes appears in page 100 (and 101*):

Prose narrative style in Coming Through Slaughter Reconstructing into the poetry writing style

“After breakfast I train. Mouth and lips and

breathing. Exercises. Scales. For hours till my

jaws and stomach ache. But no music or tune

that I long to play. Just the notes, can you

understand that? It is like perfecting 100 yard

starts and stopping after the third yard and

back again to the beginning. In this way the

notes jerk forward in a spurt.”

After breakfast I train. Mouth and lips and breathing. Exercises. Scales. For hours till my jaws and stomach ache. But no music or tune that I long to play.

Just the notes, can you understand that? It is like perfecting 100 yard starts and stopping after the third yard and back again to the beginning. In this way the notes jerk forward in a spurt

10

It is quite clear that this singular passage has a very notable musical sense, not only

because it is easy to divide the phrases due to they are short and more or less the same

length, but also because of its particular rhyme, the appearance of alliterations patterns

such as the termination –ing, the interruptions of the normal flow in the ‘third verse’,

the anapests in the meter as “train-scale-ache-play” or “that-starts-back-forward”. All

these examples give the text’s segment a sound aura in which the reader could find

some derived evidences as a musical effect base on the defamiliarization with the

ordinary language, harmony in the use of poetical language and embellishment of the

discourse, a rhythmic frequency of phrases and, definitely, an acoustic aspect that

makes the text more ‘to be heard’ than ‘to be seen’.

But it exists some other poetic standards that prevails in Coming Through Slaughter but

maybe, in this case, not as ‘listenable’ as the one that precedes. In pages 39 and 58,

appears a repetition of syntactic figures with the pronouns “he”, “his”, “she” and “her,

that allows to emotionally represent the sexual stress between two characters but

because of their location in the text, could show musicalization. In page 39, every single

phrase no longer than six or seven words, starts with “He” avoiding any linguistic link to

make the narrative flow. In page 58 it is painted the way Robin flirted with Bolden in his

room by describing every action with the possessive “his” and “her”:

e.g. page 39

“He stood by a mail wagon and watched them. He watched himself getting onto the

train with them […]. He watched himself go back to the Brewitts […]. He did not have any

baggage with him, just the piece in his pocket. He was frozen. He woke to see the train

[…]. He continued to stand hiding behind the mail wagon. Help me. He was scared of

everybody. He didn’t want to meet anybody.”

e.g. page 58

“She let her hair down onto his stomach. Her hair rustled against the black curls of his

belly, then her mouth dropping its tongue here and here on his flesh, he slowly awake,

her tongue the flesh explorer, her cool spit, his eyes watching her kneel over the bed.

Then moving her face up to his mouth his shoulder.”

Both of them go into the character’s intimacy, carefully describing every though or

action without any literary ornament, just focusing on what is happening on scene,

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almost looking like a telegram, but taking care about the fluency of the words and hiding

the pauses.

3.3. Other signifiers: voice pronunciation and sounds imitation

Literary text has also the power to evocate how a sound should be heard or, at least,

motivate the reader’s mind to imagine or transport the word into a specific sound. That

is what we find in some passages of Coming Through Slaughter, a text imitation of

human voice or a sound, as the example in page 55, where Ondaatje represents how

Bellocq made his photo sessions, depicting the camera shot’s sound with the word

“Snap”, followed by what has been photographed:

“Snap. Lady with a dog. Lady on sofa half naked. Snap. Naked lady. Lady next to dresser.

Lady at window. Snap. Lady on balcony sunlight. Holding up her arm for the shade.”

Or this second example of flying objects crashing against the mirrors in Joseph’s Shaving

Parlor during a fight between Bolden and Picket:

“[…] runs to the track of empty coke bottles and starts throwing them between us. Smash

Smash Smash.”

In other cases, is the human voice what it is imitated by using music elements such as

“backslashes”, “italics” and “CAPITAL LETTERS” to evoke differences of timbre, “ellipses”

to identify the pronunciation, and “extended typographical conventions” in case of a

concrete intonation:

e.g. Capital letters expressing a shoutin page 78.

“Made him drink and listen to him. LISTEN.”

“NO! Don’t go just tell me what you think of the bitch.”

e.g. Extended typographical convention expressing anger in page 116.

“STANNNNNLLLLLEEEEEEEEEEEEEEEEEEEEEEEEY!

e.g. ellipses to imitate voice pronunciation in page 115 and page 70.

“What’s this … What’s the diffrence, difference is spelled wrong Stanley […]”

“Cos he, cos Buddy cut him up.” “[…] in fact get out’f here, willya.”

12

As we see, in mostly every dialogue it is shown how each character express itself in its

own manner, object that gives them personality and closeness to the reader, as well as

an emotional expression of musicality.

4. Conclusion

The purpose of this paper was born to argue around the concept of Intermediality, which

poses the thesis about the adaptation of two different media conformed by two

different semiotic systems, as ‘twin arts’. Getting deeper to the main hypothesis, I got

much closer to the specific combination of music art into literature language, basing the

topic onto studies from researchers as Werner Wolf and Emily Petermann whom called

this juxtaposition by the name Musicalization of fiction. The introduction of sound (or

music) into narrative text is made by imitation or, at least, the evocation of one media

into the other, but it is essential to consider the role of the reader into this process in

which it must be aware and enough open-minded to ‘dis-cover’ the intermediality, even

when it does not have any previous knowledge in musical notation or transcription.

Imitation leaves some derived evidences we can appreciate while reading a text, from

explicit obviousness such a structural or contextual usages to implicit and more

intratextual background.

Based on this theory, I have analysed Michael Ondaatje’s novel Coming Through

Slaughter in which it emerged many potential evidences of musicalization. First of all I

have found some peripheral patterns above the whole novel when looking for an

overview in which I pose the concepts of segmentation, because of the fragmentary

chronology of the plot and its several temporal switches which mean to me a quite

successful likeness with Bolden’s music; but also the simultaneity and linear imitation of

music melodies by composing a whole group of narrators with its personal points of view

as a polyphony of voices. On the other hand, deepening inside the text it is important to

highlight the concept of rhythm in the narrative, showed by tools like the absence of

speech-marks and by mixing dialogues and narration in the same fragments (as squawk

and whistle are mixed in dolphins voice); the use of punctuation and its lack in some

cases is important to set the speed of the narration, spreading the text with opacity,

13

intensity and stress; the bridge the poetry tends between prose and music provokes that

several poetic resources are as well applied in prose, as could be rhyme and repetition

of syntactic patterns, or that one’s about sound and voice imitation.

5. Bibliography

Brown, Calvin. S. The relations between music and literature as a field of study (Ed). Location:

Publisher

Ondaatje, Michael. (1976). Coming Through Slaughter (Vintage International Ed.). New York:

Vintage Books.

Petermann, Emily (2014) The musical novel: imitation of musical structure, performance, and

reception in contemporary fiction. Rochester, NY: Camden House

Sterne, Jonathan (2012). Chapter 1: Sonic Imaginations. In The Sound Studies Reader ed.,

London and New York: Routledge Taylor&Francis Group.

Wolf, Werner. (1999), The Musicalization of Fiction. A study in the Theory and History of

Intermediality. (Rodopi). pp.11-22; 72-85. Amsterdam

Livingstone, Ruth (2013). Coming Through Slaughter, by Michael Ondaatje. 17.01.15.

<https://www.google.de/search?hl=en&q=traductor&gws_rd=cr,ssl&ei=ge67VO7qJcvWywP-

1oKYCQ>

Petermann, Emily. Unheard Jazz: Music and History in Michael Ondaatje’s Coming Through

Slaughter. Ed. Eugen Banauch et al. Canadiana 8. Wien: Peter Lang, 2010. 223 – 233

<https://www.academia.edu/1652107/Unheard_Jazz_Music_and_History_in_Michael_Ondaatje_s_Co

ming_Through_Slaughter>

6. Statement of Non-Plagiarism

Ich versichere, dass die vorliegende Arbeit ohne Hilfe Dritter und ohne Benutzung

anderer als der angegebenen Quellen und Hilfsmittel einschließlich des Internets

angefertigt und die den benutzen Quellen wörtlich oder inhaltlich entnommenen Stellen

als solche kenntlich gemacht habe.

19 Januar 2015

Carlos Rodríguez Vidondo