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-Francois 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 Hoelderlin, 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 differance, 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.
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