LEADER 04201nam 2200577 450 001 9910788990103321 005 20220517104842.0 010 $a0-8232-3545-9 010 $a1-282-69907-5 010 $a9786612699078 010 $a0-8232-3798-2 010 $a0-8232-3065-1 024 7 $a10.1515/9780823237982 035 $a(CKB)3390000000007670 035 $a(MH)011911426-7 035 $a(StDuBDS)EDZ0000021279 035 $a(DE-B1597)555117 035 $a(DE-B1597)9780823237982 035 $a(MiAaPQ)EBC476702 035 $a(OCoLC)748362031 035 $a(Au-PeEL)EBL476702 035 $a(CaONFJC)MIL269907 035 $a(OCoLC)727645708 035 $a(EXLCZ)993390000000007670 100 $a20220517d2009 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMusically sublime $eindeterminacy, infinity, irresolvability /$fKiene Brillenburg Wurth 205 $a1st ed. 210 1$aNew York :$cFordham University Press,$d[2009] 210 4$d©2009 215 $a1 online resource (x, 224 p. ) 300 $aRevision of thesis (Ph. D.)--Rijksuniversiteit Groningen. 311 0 $a0-8232-3063-5 320 $aIncludes bibliographical references (p. 205-224). 327 $tFront matter --$tContents --$tAcknowledgments --$tAbbreviations --$tIntroduction --$t1. Empty Signs and the Burkean Sublime --$t2. Sehnsucht, Music, and the Sublime --$t3. Ruins and (Un)forgetfulness: A Genealogy of the Musically Sublime --$t4. Sounds Like Now: Form-Contrariness, Romanticism, and the Postmodern Sublime --$t5. Anxiety: The Sublime as Trauma and Repetition --$tCoda: The Sublime, Intermedially Speaking --$tNotes --$tBibliography 330 $aMusically 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 form widrigkeit ("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. 606 $aSublime, The, in music 615 0$aSublime, The, in music. 676 $a780.94309034 700 $aBrillenburg Wurth$b Kiene$01564368 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910788990103321 996 $aMusically sublime$93833365 997 $aUNINA