| Description |
1 online resource (x, 274 pages) |
| Series |
Sound in history |
|
Sound in history.
|
| Contents |
Chapter 1. Music as a "bastard imitation of persuasion"? Power and legitimacy in Dryden and Dennis -- Chapter 2. "What passion cannot musick raise and quell!" Passionate and dispassionate sublimity with the Hillarians and Handelians -- Chapter 3. Reforming aesthetics : Bodmer and Breitinger's anti-musical sublime -- Chapter 4. Klopstock, rustling, and the antiphonal sublime -- Chapter 5. The beauty of the infinite : Herder's sublimely-beautiful, beautifully-sublime music -- Chapter 6. The terror of the infinite : Thomas De Quincey's reverberations |
| Summary |
"What does the sublime sound like? Harmonious, discordant, noisy, rustling, silent? Miranda Eva Stanyon rereads and resounds this crucial aesthetic category in English and German literatures of the long eighteenth century from a musical perspective and shows how sonorous sublimes lay at the heart of a central and transformative discourse. For Enlightenment and Romantic era listeners, the musical sublime represented a sonic encounter of the most extreme kind, one that tested what humans were capable of feeling, imagining, thinking, and therefore becoming. The sublime and music have not always sung from the same hymn sheet, Stanyon observes. She charts an antagonistic intimacy between the two, from the sublime's rise to prominence in the later seventeenth century, through the upheavals associated with Kant in the late eighteenth century, and their reverberations in the nineteenth. Offering readings of canonical texts by Longinus, Dryden, Burke, Klopstock, Herder, Coleridge, De Quincey, and others alongside lesser-known figures, she shows how the literary sublime was inextricable from musical culture, from folksongs and ballads to psalmody, polychoral sacred music, and opera. Deeply interdisciplinary, Resounding the Sublime draws literature into dialogue with sound studies, musicology, and intellectual and cultural history to offer new perspectives on the sublime as a phenomenon which crossed media, disciplines, and cultures."-- Provided by publisher |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Miranda Eva Stanyon is Lecturer in Comparative Literature at King's College London and Research Fellow in English Literature at the University of Melbourne |
|
Print version record |
| SUBJECT |
Aesthetics in music. http://id.loc.gov/authorities/names/n83735153
|
| Subject |
Sublime, The, in literature.
|
|
Sublime, The, in music.
|
|
English literature -- 18th century -- History and criticism
|
|
German literature -- 18th century -- History and criticism.
|
|
Music in literature.
|
|
Sublime, The -- History -- 18th century
|
|
Aesthetics in literature.
|
|
LITERARY CRITICISM / European / English, Irish, Scottish, Welsh
|
|
Aesthetics in literature
|
|
English literature
|
|
German literature
|
|
Music in literature
|
|
Sublime, The
|
|
Sublime, The, in literature
|
|
Sublime, The, in music
|
| Genre/Form |
Criticism, interpretation, etc.
|
|
History
|
| Form |
Electronic book
|
| ISBN |
0812299566 |
|
9780812299564 |
|
