Search results for: resounding-the-sublime

Resounding the Sublime

Author : Miranda Eva Stanyon
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What does the sublime sound like? Harmonious, discordant, noisy, rustling, silent? Miranda Eva Stanyon rereads and resounds this crucial aesthetic category in English and German literatures of the long eighteenth century from a musical perspective and shows how sonorous sublimes lay at the heart of a central and transformative discourse. For Enlightenment and Romantic era listeners, the musical sublime represented a sonic encounter of the most extreme kind, one that tested what humans were capable of feeling, imagining, thinking, and therefore becoming. The sublime and music have not always sung from the same hymn sheet, Stanyon observes. She charts an antagonistic intimacy between the two, from the sublime's rise to prominence in the later seventeenth century, through the upheavals associated with Kant in the late eighteenth century, and their reverberations in the nineteenth. Offering readings of canonical texts by Longinus, Dryden, Burke, Klopstock, Herder, Coleridge, De Quincey, and others alongside lesser-known figures, she shows how the literary sublime was inextricable from musical culture, from folksongs and ballads to psalmody, polychoral sacred music, and opera. Deeply interdisciplinary, Resounding the Sublime draws literature into dialogue with sound studies, musicology, and intellectual and cultural history to offer new perspectives on the sublime as a phenomenon which crossed media, disciplines, and cultures. An interdisciplinary study of sound in history, the book recovers varieties of the sublime crucial for understanding both the period it covers and the genealogy of modern and postmodern aesthetic discourses. In resounding the sublime, Stanyon reveals a phenomenon which was always already resonant. The sublime emerges not only as the aesthetic of the violently powerful, a-rational, or unrepresentable, but as a variegated discourse with competing dissonant, harmonious, rustling, noisy, and silent strains, one in which music and sound illustrate deep divisions over issues of power, reason, and representation.

Resounding the Sublime

Author : Miranda Eva Stanyon
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What does the sublime sound like? Miranda Stanyon traces competing varieties of the sublime, a crucial modern aesthetic category, as shaped by the antagonistic intimacies between music and language. In resounding the history of the sublime over the course of the long eighteenth century, she finds a phenomenon always already resonant.

Music and the Sonorous Sublime in European Culture 1680 1880

Author : Sarah Hibberd
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The first English language collection on the musical sublime. Reveals music's place at the forefront of this interdisciplinary aesthetic category.

The Sublime Heights of Generous Passions

Author : Ernst Delma
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A fate impregnated of unspoken prophecies, a phenomenal tour de force - to properly speak - a tour de force commanding a favorable manipulation of the things of life has brought together what nature has created to live in harmony and that all egocentric human conventions tend to shamelessly set apart through racial pretexts and irrelevant schemes. On a propitious stage - laid by Providence, supreme architect, unforeseeable genie of organization, as by enchantment, as by an imperious necessity, as if nature wanted to impose its supreme will in the intimacy of human affairs - are joined two destinies dressed for the conquest, the mastery and the triumph of life's noblest sentiments. In an exceptional situation arranged by a circumstance of the most unaccustomed came to life one of the most striking episodes of life sagacious occurrences promoter of those sentiments that are said to be too beautiful to be true. Two human entities joined wisdom, patience and stubbornness to ensure the triumph of the most powerful because the truest and the purest sentiments of life. Gustave Brun - a man of color from humble social and economic background - has become the archetype of intellectual success, possessor of solid almost autodidactic Academic formation. Having walked his way with small but firm steps up to the zone where elitist intellectualism finds its more explicit definition, he silently nourished a male desire to succeed instilled in him by the harsh existence he has survived. A huge, quiet, logic and understandable ambition -"a vaulting ambition which overleaps itself," would say William Shakespeare - stayed the beacon that has led every single one of his short but constant strides in the long but fruitful crusade for the fulfillment of his manly aspirations. Holder of undeniable credentials, he transcended to deserve a Professorial chair of Cultural Anthropology in one of the most prestigious establishments of Education on earth, as it occurs Princeton University. Yet, he still felt short on his success, which he acknowledged, unfinished until he would have the opportunity to add to his intellectual accomplishment what he would eventually consider as the most important acquisition of his lifetime: love, true love, the one that crowns all human longings. Her Assistant secretly hung his heart high on the frontispiece of love, and - as he is going to admit it later - since day one, since his hungry eyes, thirsty of romantic complicity were posed on her adorable silhouette. Celine Lakadus, young female Caucasian, bearer of a proverbial sweetness in the neighborhood of culture, innate sweetness inside-outly expressed and inherited from the Latin background of her Romanian father, heiress of a colossal otherwise extravagant fortune and possessor of what can ensure high life standards in uppercase characters. At the paroxysm of her womanly dreams, armed with a solid cultural formation, her quest for happiness came to an unexpected height when fate has placed on her way at the right time the unexpected and the inevitable. Her who felt before like abandoned on the endless boulevard of ecstasy - by fault of her own demanding character when it comes to sentimental questions - as a flower condemned to wither at the next dry season suddenly learned to dream. Gustave Brun, her former mentor, stole her heart. She has learned - aided by her natural perspicacity to weigh details and to discover the truth of all things. During the course of several months of frank camaraderie although limited to intellectual exchange of ideas, she has arrived to the self-persuasion plateau and assessed him as being the man she's been expecting for so long. Why, would ask the stupefied, petrified spectator? "Reasons of the heart that reason ignores", she would argue. For both, it's the renaissance of life in its entire splendor. A life that appeared for both senseless in its essence where any materialistic accomplishment that it is eco

The Cambridge Companion to Music and Romanticism

Author : Benedict Taylor
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A stimulating new approach to understanding the relationship between music and culture in the long nineteenth century.

Musically Sublime

Author : Kiene Brillenburg Wurth
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Musically 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.

Contesting the Subject

Author : William H. Epstein
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Stanley Fish opens the collection with a persuasive argument for the role of intention and biography. Michael McKeon, Gordon Turnbull, and Jerome Christensen are concerned with the late eighteenth--and early nineteenth-century English cultural discourse that gave rise to the nearly simultaneous emergence of literary biography, Romantic sensibility, and reflexive human consciousness. The essays by Alison Booth, Cheryl Walker, and Sharon O'Brien reveal that the recognition or lack thereof the biographical subject has received and remains both a problem and an opportunity for women writers and readers. The essays by Valerie Ross, Rob Wilson, Steven Weiland, and William Epstein pursue the question of difference and cultural reification in the theory and practice of a specifically American biography and biographical criticism.

Romanticism at the End of History

Author : Jerome Christensen
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The Romantics lived through a turn of the century that, like our own, seemed to mark an end to history as it had long been understood. They faced accelerated change, including unprecedented state power, armies capable of mass destruction, a polyglot imperial system, and a market economy driven by speculation. In Romanticism at the End of History, Jerome Christensen challenges the prevailing belief that the Romantics were reluctant to respond to social injustice. Through provocative and searching readings of the poetry of Wordsworth; the poems, criticism, and journalism of Coleridge; the Confessions of De Quincey; and Sir Walter Scott's Waverley, Christensen concludes that during complicated times of war and revolution English Romantic writers were forced to redefine their role as artists.

Words After Speech

Author : Paul Coates
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Select specimens of English prose ed by E Hughes

Author : Edward Hughes
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