Search results for ""author kiene brillenburg wurth""

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.

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This innovative introduction to literary studies takes 'the life of texts' as its overarching frame. It provides a conceptual and methodological toolbox for analysing novels, poems, and all sorts of other texts as they circulate in oral, print, and digital form. It shows how texts inspire each other, and how stories migrate across media. It explains why literature has been interpreted in different ways across time. Finally, it asks why some texts fascinate people so much that they are reproduced and passed on to others in the form of new editions, in adaptations to film and theatre, and, last but not least, in the ways we look at the world and act out our lives. The Life of Texts is designed around particular issues rather than the history of the discipline as such. Each chapter concentrates on a different aspect of 'the life of texts' and introduces the key debates and concepts relevant to its study. The issues discussed range from aesthetics and narrative to intertextuality and intermediality, from reading practices to hermeneutics and semiotics, popular culture to literary canonisation, postcolonial criticism to cultural memory. Key concepts and schools in the field have been highlighted in the text and then collected in a glossary for ease of reference. All chapters are richly illustrated with examples from different language areas.

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Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal–visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. “Page” and “screen” are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.

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Since the earlier twentieth century, literary genres have traveled across magnetic, wireless, and electronic planes. Literature may now be anything from acoustic poetry and oral performance to verbal–visual constellations in print and on screen, cinematic narratives, or electronic textualities that range from hypertext to Flash. New technologies have left their imprint on literature as a paper-based medium, and vice versa. This volume explores the interactions between literature and screenbased media over the past three decades. How has literature turned to screen, how have screens undone the tyranny of the page as a medium of literature, and how have screens affected the page in literary writing? This volume answers these questions by uniquely integrating perspectives from digital literary studies, on the one hand, and film and literature studies, on the other. “Page” and “screen” are familiar catchwords in both digital literary studies and film and literature studies. The contributors reassess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium in fact reinvigorates the book and the page as literary media, rather than signaling their impending death. While previous studies in this field have been restricted to the digitization of literature alone, this volume shows the continuing relevance of film as a cultural medium for contemporary literature. Its integrative approach allows readers to situate current shifts within the literary field in a wider, long-term perspective.

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