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Reflections On Philosophic Tradition
Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions. Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers.
Olivier Messiaen's Breakthrough Toward the Beyond
Present-day music studies conspicuously evade the question of religion in contemporary music. Although many composers address the issue in their work, as yet there have been few attempts to think through the structureof religious music as we hear it.The work of Olivier Messiaen is well known for its inclusion of religious themes and gestures. On the basis of a careful analysis of Messiaen’s work, this book argues for a renewal of our thinking about religious music.Starting from an analysis of his 1960s oratorio La Transfiguration de Notre-Seigneur Jésus-Christ, van Maas arranges a moderated dialogue between Messiaen and the music theology of Hans Urs von Balthasar, thephenomenology of revelation of Jean-Luc Marion, the rethinking of religion and technics in Jacques Derrida and Bernard Stiegler, and the Augustinian ruminations of Søren Kierkegaard and Jean-François Lyotard. Ultimately,this confrontation underscores the challenging yet deeply affirmative nature of Messiaen’s music.
Conceptual Issues in the Quest for Social Order and National Integration
Rethinking Security in Nigeria adopts an alternate conceptual and methodological framework for rethinking national security in Nigeria by using the humanities' multidisciplinary perspective against the backdrop of the hitherto restrictive analysis of the nature of national security. By expounding the largely unexplored cosmological, conceptual, ethical and aesthetic dimensions as key contributors to national survival and social integration, the volume argues systematically for a basic redefinition of the meanings of security, the value of life, government action and social re-engineering in order to create a new system of social order an integration. The authors attempt to extend the boundaries of previous theorizing on security by identifying alternate ethical and aesthetic approaches to national reconciliation and human development in present-day Nigeria, which faces major security challenges requiring the clarification of the basis for developing a just and harmonious society. The study is a contribution to the quest for defining the vital socio-cultural norms and doctrinal imperatives needed for responsible cooperative human action. It examines the roles of dominant works of philosophy, literature, plays and performances in the creation of a basis for political stability and social reconciliation in the society. It extends the boundaries of previous aesthetic studies and redefines the roles of ethics and aesthetics as crucial contributors to security, human development and world civilisation.
Music, Aesthetics, Politics
Renowned for his influence as a political philosopher, a writer, and an autobiographer, Jean-Jacques Rousseau is known also for his intense interest in music. He composed operas and other musical pieces,invented a system of numbered musical notation, engaged in public debates about music, and wrote at length about musical theory. Critical analysis of Rousseau’s work in music has been principally the domain of musicologists, rarely pervading the work of scholars of political theory or literary studies. In Rousseau Among the Moderns, Julia Simon argues for new interpretations of The Social Contract, The Discourse on the Origin of Inequality, and The Confessions, as well as other texts, linking Rousseau’s understanding of key concepts in music, such as tuning, harmony, melody, and form, to the crucial problem of the individual’s relationship to the social order. The choice of music as the privileged aesthetic object enables Rousseau to gain insight into the role of the aesthetic realm in relation to the social and political body in ways often associated with later thinkers. Simon argues that much of Rousseau’s “modernism” resides in the unique role that he assigns to music in forging communal relations through the aesthetic.
Philosophical Analyses of Holocaust Art
Holocaust artworks intuitively must fulfill at least two criteria: artistic (lest they be merely historical documents) and historical (lest they distort the Holocaust or become merely artworks). The Sense of Semblance locates this problematic within philosophical aesthetics, as a version of the conflict between aesthetic autonomy and heteronomy, and argues that Adorno's dialectic of aesthetic semblance describes the normative demand that artworks maintain a dynamic tension between the two. The Sense of Semblance aims to move beyond familiar debates surrounding postmodernism by demonstrating the usefulness of contemporary theories of meaning and understanding, including those from the analytic tradition. Pickford shows how the causal theory of names, the philosophy of tacit knowledge, the analytic philosophy of quotation, Sartre's theory of the imaginary, the epistemology of testimony, and Walter Benjamin's dialectical image can help explicate how individual artworks fulfill artistic and historical desiderata. In close readings of Celan's poetry, Holocaust memorials in Berlin, the quotational artist Heimrad Backer, Claude Lanzmann's film Shoah, and Art Spiegelman's graphic novel Maus, Pickford offers interpretations that, in their precision, specificity, and clarity, inaugurate a dialogue between contemporary analytic philosophy and contemporary art. The Sense of Semblance is the first book to incorporate contemporary analytic philosophy in interpretations of art and architecture, literature, and film about the Holocaust.
German Music and Philosophy
The rich conceptual and experiential relays between music and philosophy—echoes of what Theodor W. Adorno once called Klangfiguren, or "sound figures"—resonate with heightened intensity during the period of modernity that extends from early German Idealism to the Critical Theory of the Frankfurt School. This volume traces the political, historical, and philosophical trajectories of a specifically German tradition in which thinkers take recourse to music, both as an aesthetic practice and as the object of their speculative work.
The contributors examine the texts of such highly influential writers and thinkers as Schelling, Schopenhauer, Nietzsche, Bloch, Mann, Adorno, and Lukács in relation to individual composers including Beethoven, Wagner, Schönberg, and Eisler. Their explorations of the complexities that arise in conceptualizing music as a mode of representation and philosophy as a mode of aesthetic practice thematize the ways in which the fields of music and philosophy are altered when either attempts to express itself in terms defined by the other.
Contributors: Albrecht Betz, Lydia Goehr, Beatrice Hanssen, Jost Hermand, David Farrell Krell, Ludger Lütkehaus, Margaret Moore, Rebekah Pryor Paré, Gerhard Richter, Hans Rudolf Vaget, Samuel Weber