Kiene Brillenburg Wurth

Pays :Pays-Bas
Langue :anglais
Sexe :féminin
Note :
Professeur de littérature comparée, Rijksuniversiteit te Utrecht (en 2012)

Ses activités

Éditeur scientifique2 documents

  • Between page and screen

    remaking literature through cinema and cyberspace

    Description matérielle : xi, 330 p.
    Description : Note : Includes bibliographical references (p. 297-314) and index
    Édition : New York : Fordham University Press , 2012

    [catalogue][https://catalogue.bnf.fr/ark:/12148/cb427038257]
  • Book Presence in a Digital Age

    Description matérielle : 1 vol. (XIII-260 p.-[16 p. de pl.])
    Description : Note : Bibliogr. à la fin de chaque chapitre
    Édition : Londres : Bloomsbury Academic & Professional , 2018
    Éditeur scientifique : Kári Driscoll, Jessica Pressman

    [catalogue][https://catalogue.bnf.fr/ark:/12148/cb45534685g]

Auteur du texte1 document

  • Musically sublime

    indeterminacy, infinity, irresolvability

    1st ed.
    Description matérielle : x, 224 p.
    Description : Note : Revision of thesis (Ph. D.)--Rijksuniversiteit Groningen
    Includes bibliographical references (p. 205-224)
    Abstract : "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, Brillenburg Wurth shows how, from the mid-eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality." "Brillenburg 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 Holderlin, 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 difference, 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 nineteenthcentury 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 pos...
    Édition : New York : Fordham University Press , 2009

    [catalogue][https://catalogue.bnf.fr/ark:/12148/cb427038315]

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