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by Kiene Brillenburg Wurth

eBook Musically Sublime: Indeterminacy, Infinity, Irresolvability download ISBN: 0823230635
Author: Kiene Brillenburg Wurth
Publisher: Fordham University Press; 1 edition (March 2, 2009)
Language: English
Pages: 234
ePub: 1870 kb
Fb2: 1734 kb
Rating: 4.5
Other formats: azw lrf azw doc
Category: Different
Subcategory: Humanities

Musically Sublime - Kiene Brillenburg Wurth. Indeterminacy, Infinity, Irresolvability. Brillenburg Wurth, Kiene.

Musically Sublime - Kiene Brillenburg Wurth. Kiene Brillenburg Wurth. Musically sublime: indeterminacy, infinity, irresolvability, Kiene. 1st ed. p. cm. Revision of thesis (Ph.

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. 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.

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Home Browse Books Book details, Musically Sublime . Musically Sublime rewrites musically the history and philosophy of the sublime.

Home Browse Books Book details, Musically Sublime: Indeterminacy, Infinity,. Musically Sublime: Indeterminacy, Infinity, Irresolvability. By Kiene Brillenburg Wurth.

KIENE BRILLENBURG WURTH is Associate Professor of Comparative Literature at the University of Utrecht. Her most recent publications include Controlled Accidents (with Sander van Maas) and Musically Sublime: Indeterminacy, Infinity, Irresolvability (Fordham)

KIENE BRILLENBURG WURTH is Associate Professor of Comparative Literature at the University of Utrecht. Her most recent publications include Controlled Accidents (with Sander van Maas) and Musically Sublime: Indeterminacy, Infinity, Irresolvability (Fordham). Country of Publication.

Musically Sublime rewrites musically the history and philosophy of the sublime Kiene Brillenburg Wurth. Published by: Fordham University.

Автор: Wurth Kiene Название: Muscially Sublime: Indeterminacy, Infinity, Irresolvability Издательство: Marston Book Services Классификация: ISBN .

Musically Sublime rewrites the mathematical sublime as diff rance, while it redresses the dynamical sublime as trauma: unending, undetermined, unresolved.

In haar proefschrift onderzoekt Brillenburg Wurth deze dubbelzinnige ervaring in relatie tot de muziek van de 18e, 19e .

In haar proefschrift onderzoekt Brillenburg Wurth deze dubbelzinnige ervaring in relatie tot de muziek van de 18e, 19e en 20e eeuw. Zij toont de invloed aan van de cultus van het Sublieme op de muzikale cultuur tussen 1700 en 1900, en meer in het bijzonder op de ‘overwinning’ van de instrumentale muziek aan het einde van de 18e eeuw. oceedings{Wurth2002TheMS, title {The musically sublime: infinity, indeterminacy, irresolvability}, author {Catharina Anna Wilhelmina Brillenburg Wurth}, year {2002} }. Catharina Anna Wilhelmina Brillenburg Wurth.

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.