By Kiene Brillenburg Wurth
Wurth takes as her aspect of departure Immanuel Kant's Critique of Judgment and Jean-François Lyotard's aesthetic writings of the Eighties and Nineties. Kant framed the chic narratively as an epic of self-transcendence. in contrast, Lyotard sought to alternative open immanence for Kantian transcendence, but he didn't deconstruct the Kantian epic. The ebook plays this deconstruction by means of juxtaposing eighteenth- and nineteenth-century conceptions of the endless, Sehnsucht, the divided self, and subconscious drives with modern readings of instrumental tune.
Critically assessing Edmund Burke, James Usher, E.T.A. Hoffmann, Novalis, Friedrich Hölderlin, Arthur Schopenhauer, Richard Wagner, and Friedrich Nietzsche, this e-book re-presents the chic as a sense that defers solution and hangs suspended among ache and delight. Musically chic rewrites the mathematical elegant as différance, whereas it redresses the dynamical elegant as trauma: endless, undetermined, unresolved.
Whereas so much musicological reviews during this sector have fascinated about strains of the Kantian chic in Handel, Haydn, and Beethoven, this publication calls at the nineteenth-century theorist Arthur Seidl to investigate the chic of, instead of in, track. It does so through invoking Seidl's suggestion of formwidrigkeit ("form-contrariness") in juxtaposition with Romantic piano track, (post)modernist musical minimalisms, and Lyotard's postmodern chic. It provides a chic of subject, instead of form-performative instead of representational. In doing so, Musically chic indicates that the binary contrast Lyotard posits among the postmodern and romantic chic is eventually untenable.
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