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LEADER 03854nam 22004094a 4500

001 ocn268957364;

003 OCoLC;

005 20141212013115.0;

008 081028s2009 nyua b 000 0 eng ;

010 a| 2008047146;

020 a| 9780823230631 (cloth : alk. paper);

020 a| 0823230635 (cloth : alk. paper);

035 a| (Sirsi) o268957364;

035 a| (OCoLC)268957364;

049 a| EREM;

050 00 a| ML3877b| .B75 2009;

082 00 a| 781.1/72| 22;

100 1 a| Brillenburg Wurth, Kiene.=| ^A1215310;

245 10 a| Musically sublime :b| indeterminacy, infinity, irresolvability /c| Kiene Brillenburg Wurth.;

250 a| First edition.;

260 a| New York :b| Fordham University Press,c| 2009.;

300 a| x, 224 pages ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Revision of thesis (Ph. D.)--Rijksuniversiteit Groningen.;

504 a| Includes bibliographical references (pages 205-224).;

505 0 a| Empty signs and the Burkean sublime -- Sehnsucht, music, and the sublime -- Ruins and (un)forgetfulness: a genealogy of the musically sublime -- Sounds like now: form, contrariness, Romanticism, and the postmodern sublime -- Anxiety: the sublime as trauma and repetition -- Coda: The sublime, intermedially speaking.;

520 a| This book 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, the author shows how, from the mid-eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality. The author takes as her point of departure Immanuel Kant's Critique of Judgment and Jean-Francois 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 Holderlin, 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 difference, 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 nineteenthcentury 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, this book shows that the binary distinction Lyotard posits between the postmodern and Romantic sublime is finally untenable.;

650 0 a| Sublime, The, in music.=| ^A1234421;

994 a| 92b| ERE;

910 a| PromptCat;

980 a| 2009-03-25b| 50d| 0e| 42f| 664568h| 40016493334i| ML 3877 .B75 2009;

596 a| 3;

998 a| 1484562;

999 a| ML3877 .B75 2009w| LCc| 1i| 30372014573197d| 7/17/2014e| 11/14/2012f| 4/25/2024g| 3l| MSTm| JMUSICn| 3r| Ys| Yt| MGESBKu| 3/31/2009x| BOOKz| MCIRCo| .STAFF. enhanced 1/31/24 -jjab;

Musically sublime : indeterminacy, infinity, irresolvability / Kiene Brillenburg Wurth.

Author/creator	Brillenburg Wurth, Kiene
Format	Book
Edition	First edition.
Publication Info	New York : Fordham University Press, 2009.
Description	x, 224 pages ; 24 cm
Subjects	Sublime, The, in music.

Contents	Empty signs and the Burkean sublime -- Sehnsucht, music, and the sublime -- Ruins and (un)forgetfulness: a genealogy of the musically sublime -- Sounds like now: form, contrariness, Romanticism, and the postmodern sublime -- Anxiety: the sublime as trauma and repetition -- Coda: The sublime, intermedially speaking.
Abstract	This book 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, the author shows how, from the mid-eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality. The author takes as her point of departure Immanuel Kant's Critique of Judgment and Jean-Francois 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 Holderlin, 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 difference, 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 nineteenthcentury 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, this book shows that the binary distinction Lyotard posits between the postmodern and Romantic sublime is finally untenable.
General note	Revision of thesis (Ph. D.)--Rijksuniversiteit Groningen.
Bibliography note	Includes bibliographical references (pages 205-224).
LCCN	2008047146
ISBN	9780823230631 (cloth : alk. paper)
ISBN	0823230635 (cloth : alk. paper)

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Musically sublime : indeterminacy, infinity, irresolvability / Kiene Brillenburg Wurth.

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