By Kiene Brillenburg Wurth
Wurth takes as her element of departure Immanuel Kant's Critique of Judgment and Jean-François Lyotard's aesthetic writings of the Eighties and Nineties. Kant framed the elegant narratively as an epic of self-transcendence. in contrast, Lyotard sought to alternative open immanence for Kantian transcendence, but he didn't deconstruct the Kantian epic. The e-book plays this deconstruction through juxtaposing eighteenth- and nineteenth-century conceptions of the endless, Sehnsucht, the divided self, and subconscious drives with modern readings of instrumental tune.
Critically assessing Edmund Burke, James Usher, E.T.A. Hoffmann, Novalis, Friedrich Hölderlin, Arthur Schopenhauer, Richard Wagner, and Friedrich Nietzsche, this publication re-presents the chic as a sense that defers answer and hangs suspended among soreness and enjoyment. Musically elegant rewrites the mathematical chic as différance, whereas it redresses the dynamical chic as trauma: never-ending, undetermined, unresolved.
Whereas so much musicological stories during this sector have desirous about strains of the Kantian elegant in Handel, Haydn, and Beethoven, this e-book calls at the nineteenth-century theorist Arthur Seidl to investigate the elegant of, instead of in, tune. It does so by means of invoking Seidl's thought of formwidrigkeit ("form-contrariness") in juxtaposition with Romantic piano song, (post)modernist musical minimalisms, and Lyotard's postmodern elegant. It offers a chic of topic, instead of form-performative instead of representational. In doing so, Musically elegant exhibits that the binary contrast Lyotard posits among the postmodern and romantic chic is eventually untenable.
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Musically Sublime: Indeterminacy, Infinity, Irresolvability by Kiene Brillenburg Wurth