Description
Book SynopsisOver the last three decades Slavoj Žižek has become an iconic figure of intellectuel engagé and his works have engendered ongoing reflection within as different academic disciplines as philosophy, literature or cultural, gender, postcolonial and film studies. But when it comes to music, things look different.
With an emphasis on the German modernist tradition from Wagner to Schönberg, a whole range of references to music are scattered throughout Žižek's copious body of works. However, these efforts seem to go almost unnoticed within academia at least on first glance. Looking more closely, one notices a subtle but nevertheless consistent adoption of Žižek's theories within musicology, spreading across a broad range of topics and approaches. So, Žižek has become part of musicology, even if his presence is still uncharted territory.
The present volume, which appeals to musicologists and philosophers alike, intends to map different ways in which Žižek's philosophy ha
Table of Contents
Mauro Fosco Bertola: Foreword: If Žižek Be the Food of Musicology – Mauro Fosco Bertola: Introduction: Slavoj Žižek’s Aesthetics of Music. From Romanticism to Modernism – Carlo Lanfossi: Musicology’s Second Death(s) – Amy Bauer: The Sublime Object of Music Analysis – Slavoj Žižek: C Major or E- Flat Minor? No, Thanks! Busoni’s Faust- Allegory – Mauro Fosco Bertola: Post- Kantian Dreams. Kaija Saariaho’s Operatic Ontology and Its Dreamscapes in L’amour de loin – Jelena Novak: Singing in the Age of Capitalist Realism. The Pervert’s Guide to (Post)Opera – Samuel J. Wilson: Cage, Reich, and Morris: Process and Sonic Fetishism – Slavoj Žižek: Subjective Destitution in Art and Politics – Contributors.
