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Léonora Miano's fiction is clearly characterised by intermediality. This is particularly notable in her recurrent use of music in her work. By weaving into her texts elements from and references to mostly American musical traditions (jazz, funk, soul, etc.), the author goes beyond the narrow France-Africa prism that structures the Afropean identities her novels explore, instead situating her characters within a wider Atlantic context. In addition to providing a structural basis for her work, music frequently appears on the diegetic level to nuance the complex questions of identity that her work reflects upon. In her most recent works, music serves to articulate the position of the « young black man » (« garçon noir »), a figure who finds himself caught between contrasting ideologies and imaginaries. This article considers how Miano uses this musical intermediality to explore identity in Crépuscule du tourment 1 and 2 (Twilight of torment 1 and 2).
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Édith Piaf and Diane Dufresne belong to a larger group of highly emotional performers. They share the same voice where a vibrating emotion is the primal energy, at the juncture of utterance and silence. The passion is such that it makes its way even through the cold black vinyl plate. Such a voice appeals to the listener's flesh more than to his hearing. The song is carried through the words and the music. The lyrics appear very often to be repetitive scripts where the singer is at the same time narrator and actor. Upon these fabulae, the music will build an emotional crescendo. The voice sounds and resonates through this complex literary and musical architecture. The listener will enjoy a spontaneous warm vibration that is the more useful for not being perceptible.