{"product_id":"musically-sublime-indeterminacy-infinity-irresolvability-9780823230648","title":"Musically Sublime: Indeterminacy, Infinity, Irresolvability","description":"\u003cp\u003eMusically 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. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003eWurth 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. \u003cp\u003e\u003c\/p\u003eCritically 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. \u003cp\u003e\u003c\/p\u003eWhereas 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Kiene Brillenburg Wurth\u003cbr\u003e\u003cb\u003ePublisher:\u003c\/b\u003e Fordham University Press\u003cbr\u003e\u003cb\u003ePublished:\u003c\/b\u003e 03\/14\/2012\u003cbr\u003e\u003cb\u003ePages:\u003c\/b\u003e 234\u003cbr\u003e\u003cb\u003eBinding Type:\u003c\/b\u003e Paperback\u003cbr\u003e\u003cb\u003eWeight:\u003c\/b\u003e 0.70lbs\u003cbr\u003e\u003cb\u003eSize:\u003c\/b\u003e 8.90h x 5.90w x 0.60d\u003cbr\u003e\u003cb\u003eISBN:\u003c\/b\u003e 9780823230648\u003cbr\u003e\u003cp\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eKIENE BRILLENBURG WURTH\u003c\/strong\u003e is Associate Professor of Comparative Literature at the University of Utrecht. Her most recent publications include \u003cem\u003eControlled Accidents\u003c\/em\u003e (with Sander van Maas) and \u003cem\u003eMusically Sublime: Indeterminacy, Infinity, Irresolvability \u003c\/em\u003e(Fordham).\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Fordham University Press","offers":[{"title":"Paperback","offer_id":41111292444787,"sku":"9.78082E+12","price":52.95,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0555\/9255\/0515\/products\/img_6c1f8502-92e0-46c6-9c01-ff6cfd024720.jpg?v=1700573009","url":"https:\/\/bookstorenmore.com\/en-de\/products\/musically-sublime-indeterminacy-infinity-irresolvability-9780823230648","provider":"Bookstore N More","version":"1.0","type":"link"}