Musically Sublime: Indeterminacy, Infinity, Irresolvability
Musically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notion that there is a single format for sublime feeling, Wurth shows how, from the mid eighteenth...
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| Main Author: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
New York, NY
Fordham University Press
[2009]
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| Subjects: | |
| Online Access: | DE-1043 DE-1046 DE-859 DE-860 DE-739 DE-473 DE-858 URL des Erstveröffentlichers |
| Summary: | Musically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notion that there is a single format for sublime feeling, Wurth shows how, from the mid eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality. Wurth takes as her point of departure Immanuel Kant's Critique of Judgment and Jean-François Lyotard's aesthetic writings of the 1980s and 1990s. Kant framed the sublime narratively as an epic of self-transcendence. By contrast, Lyotard sought to substitute open immanence for Kantian transcendence, yet he failed to deconstruct the Kantian epic. The book performs this deconstruction by juxtaposing eighteenth- and nineteenth-century conceptions of the infinite, Sehnsucht, the divided self, and unconscious drives with contemporary readings of instrumental music. Critically assessing Edmund Burke, James Usher, E.T.A. Hoffmann, Novalis, Friedrich Hölderlin, Arthur Schopenhauer, Richard Wagner, and Friedrich Nietzsche, this book re-presents the sublime as a feeling that defers resolution and hangs suspended between pain and pleasure. Musically Sublime rewrites the mathematical sublime as différance, while it redresses the dynamical sublime as trauma: unending, undetermined, unresolved.Whereas most musicological studies in this area have focused on traces of the Kantian sublime in Handel, Haydn, and Beethoven, this book calls on the nineteenth-century theorist Arthur Seidl to analyze the sublime of, rather than in, music. It does so by invoking Seidl's concept of formwidrigkeit ("form-contrariness") in juxtaposition with Romantic piano music, (post)modernist musical minimalisms, and Lyotard's postmodern sublime. It presents a sublime of matter, rather than form-performative rather than representational. In doing so, Musically Sublime shows that the binary distinction Lyotard posits between the postmodern and romantic sublime is finally untenable |
| Item Description: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) |
| Physical Description: | 1 online resource (234 pages) |
| ISBN: | 9780823237982 |
| DOI: | 10.1515/9780823237982 |
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| 520 | |a Musically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notion that there is a single format for sublime feeling, Wurth shows how, from the mid eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality. Wurth takes as her point of departure Immanuel Kant's Critique of Judgment and Jean-François Lyotard's aesthetic writings of the 1980s and 1990s. Kant framed the sublime narratively as an epic of self-transcendence. By contrast, Lyotard sought to substitute open immanence for Kantian transcendence, yet he failed to deconstruct the Kantian epic. The book performs this deconstruction by juxtaposing eighteenth- and nineteenth-century conceptions of the infinite, Sehnsucht, the divided self, and unconscious drives with contemporary readings of instrumental music. | ||
| 520 | |a Critically assessing Edmund Burke, James Usher, E.T.A. Hoffmann, Novalis, Friedrich Hölderlin, Arthur Schopenhauer, Richard Wagner, and Friedrich Nietzsche, this book re-presents the sublime as a feeling that defers resolution and hangs suspended between pain and pleasure. Musically Sublime rewrites the mathematical sublime as différance, while it redresses the dynamical sublime as trauma: unending, undetermined, unresolved.Whereas most musicological studies in this area have focused on traces of the Kantian sublime in Handel, Haydn, and Beethoven, this book calls on the nineteenth-century theorist Arthur Seidl to analyze the sublime of, rather than in, music. It does so by invoking Seidl's concept of formwidrigkeit ("form-contrariness") in juxtaposition with Romantic piano music, (post)modernist musical minimalisms, and Lyotard's postmodern sublime. It presents a sublime of matter, rather than form-performative rather than representational. | ||
| 520 | |a In doing so, Musically Sublime shows that the binary distinction Lyotard posits between the postmodern and romantic sublime is finally untenable | ||
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Record in the Search Index
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| author | Wurth, Kiene Brillenburg |
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| dewey-full | 781.1/7 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
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| dewey-search | 781.1/7 |
| dewey-sort | 3781.1 17 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
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| isbn | 9780823237982 |
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| spelling | Wurth, Kiene Brillenburg Verfasser aut Musically Sublime Indeterminacy, Infinity, Irresolvability Kiene Brillenburg Wurth New York, NY Fordham University Press [2009] © 2009 1 online resource (234 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) Musically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notion that there is a single format for sublime feeling, Wurth shows how, from the mid eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality. Wurth takes as her point of departure Immanuel Kant's Critique of Judgment and Jean-François Lyotard's aesthetic writings of the 1980s and 1990s. Kant framed the sublime narratively as an epic of self-transcendence. By contrast, Lyotard sought to substitute open immanence for Kantian transcendence, yet he failed to deconstruct the Kantian epic. The book performs this deconstruction by juxtaposing eighteenth- and nineteenth-century conceptions of the infinite, Sehnsucht, the divided self, and unconscious drives with contemporary readings of instrumental music. Critically assessing Edmund Burke, James Usher, E.T.A. Hoffmann, Novalis, Friedrich Hölderlin, Arthur Schopenhauer, Richard Wagner, and Friedrich Nietzsche, this book re-presents the sublime as a feeling that defers resolution and hangs suspended between pain and pleasure. Musically Sublime rewrites the mathematical sublime as différance, while it redresses the dynamical sublime as trauma: unending, undetermined, unresolved.Whereas most musicological studies in this area have focused on traces of the Kantian sublime in Handel, Haydn, and Beethoven, this book calls on the nineteenth-century theorist Arthur Seidl to analyze the sublime of, rather than in, music. It does so by invoking Seidl's concept of formwidrigkeit ("form-contrariness") in juxtaposition with Romantic piano music, (post)modernist musical minimalisms, and Lyotard's postmodern sublime. It presents a sublime of matter, rather than form-performative rather than representational. In doing so, Musically Sublime shows that the binary distinction Lyotard posits between the postmodern and romantic sublime is finally untenable In English PHILOSOPHY / Aesthetics bisacsh Sublime, The, in music https://doi.org/10.1515/9780823237982 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Wurth, Kiene Brillenburg Musically Sublime Indeterminacy, Infinity, Irresolvability PHILOSOPHY / Aesthetics bisacsh Sublime, The, in music |
| title | Musically Sublime Indeterminacy, Infinity, Irresolvability |
| title_auth | Musically Sublime Indeterminacy, Infinity, Irresolvability |
| title_exact_search | Musically Sublime Indeterminacy, Infinity, Irresolvability |
| title_exact_search_txtP | Musically Sublime Indeterminacy, Infinity, Irresolvability |
| title_full | Musically Sublime Indeterminacy, Infinity, Irresolvability Kiene Brillenburg Wurth |
| title_fullStr | Musically Sublime Indeterminacy, Infinity, Irresolvability Kiene Brillenburg Wurth |
| title_full_unstemmed | Musically Sublime Indeterminacy, Infinity, Irresolvability Kiene Brillenburg Wurth |
| title_short | Musically Sublime |
| title_sort | musically sublime indeterminacy infinity irresolvability |
| title_sub | Indeterminacy, Infinity, Irresolvability |
| topic | PHILOSOPHY / Aesthetics bisacsh Sublime, The, in music |
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