001477515 000__ 05659nam\a22008295i\4500 001477515 001__ 1477515 001477515 003__ DE-B1597 001477515 005__ 20231026034813.0 001477515 006__ m\\\\\o\\d\\\\\\\\ 001477515 007__ cr\un\nnnunnun 001477515 008__ 230103t20092009nyu\\\\\o\\d\z\\\\\\eng\d 001477515 020__ $$a9780823237982 001477515 0247_ $$a10.1515/9780823237982$$2doi 001477515 035__ $$a(DE-B1597)555117 001477515 035__ $$a(OCoLC)748362031 001477515 040__ $$aDE-B1597$$beng$$cDE-B1597$$erda 001477515 0410_ $$aeng 001477515 044__ $$anyu$$cUS-NY 001477515 072_7 $$aPHI001000$$2bisacsh 001477515 08204 $$a781.1/7 001477515 1001_ $$aWurth, Kiene Brillenburg, $$eauthor.$$4aut$$4http://id.loc.gov/vocabulary/relators/aut 001477515 24510 $$aMusically Sublime :$$bIndeterminacy, Infinity, Irresolvability /$$cKiene Brillenburg Wurth. 001477515 264_1 $$aNew York, NY : $$bFordham University Press, $$c[2009] 001477515 264_4 $$c©2009 001477515 300__ $$a1 online resource (234 p.) 001477515 336__ $$atext$$btxt$$2rdacontent 001477515 337__ $$acomputer$$bc$$2rdamedia 001477515 338__ $$aonline resource$$bcr$$2rdacarrier 001477515 347__ $$atext file$$bPDF$$2rda 001477515 50500 $$tFrontmatter -- $$tContents -- $$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 001477515 506__ $$aAccess limited to authorized users. 001477515 520__ $$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 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. 001477515 538__ $$aMode of access: Internet via World Wide Web. 001477515 546__ $$aIn English. 001477515 5880_ $$aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023) 001477515 650_0 $$aSublime, The, in music. 001477515 650_4 $$aMusic. 001477515 650_4 $$aPhilosophy & Theory. 001477515 650_7 $$aPHILOSOPHY / Aesthetics.$$2bisacsh 001477515 655_0 $$aElectronic books 001477515 77308 $$iTitle is part of eBook package:$$dDe Gruyter$$tFordham University Press Complete eBook-Package Pre-2014$$z9783111189604 001477515 77308 $$iTitle is part of eBook package:$$dDe Gruyter$$tFordham University Press eBook-Package Backlist 2000-2013$$z9783110707298 001477515 7760_ $$cprint$$z9780823230648 001477515 852__ $$bebk 001477515 85640 $$3De Gruyter$$uhttps://univsouthin.idm.oclc.org/login?url=https://www.degruyter.com/isbn/9780823237982$$zOnline Access 001477515 909CO $$ooai:library.usi.edu:1477515$$pGLOBAL_SET 001477515 912__ $$a978-3-11-070729-8 Fordham University Press eBook-Package Backlist 2000-2013$$c2000$$d2013 001477515 912__ $$a978-3-11-118960-4 Fordham University Press Complete eBook-Package Pre-2014$$b2014 001477515 912__ $$aEBA_BACKALL 001477515 912__ $$aEBA_CL_PLTLJSIS 001477515 912__ $$aEBA_EBACKALL 001477515 912__ $$aEBA_EBKALL 001477515 912__ $$aEBA_ECL_PLTLJSIS 001477515 912__ $$aEBA_EEBKALL 001477515 912__ $$aEBA_ESSHALL 001477515 912__ $$aEBA_PPALL 001477515 912__ $$aEBA_SSHALL 001477515 912__ $$aGBV-deGruyter-alles 001477515 912__ $$aPDA11SSHE 001477515 912__ $$aPDA13ENGE 001477515 912__ $$aPDA17SSHEE 001477515 912__ $$aPDA5EBK 001477515 980__ $$aBIB 001477515 980__ $$aEBOOK 001477515 982__ $$aEbook 001477515 983__ $$aOnline