Resounding the Sublime : : Music in English and German Literature and Aesthetic Theory, 1670-1850 / / Miranda Eva Stanyon.
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...
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| Superior document: | Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2021 English |
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| Place / Publishing House: | Philadelphia : : University of Pennsylvania Press, , [2021] ©2021 |
| Year of Publication: | 2021 |
| Language: | English |
| Series: | Sound in History
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| Online Access: | |
| Physical Description: | 1 online resource (304 p.) : |
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Table of Contents:
- Frontmatter
- Contents
- Abbreviations
- Note on Translations and References
- Introduction
- PART I He Rais’d a Mortal to the Skies; She Drew an Angel Down English Literature, Circa 1670–1760
- 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
- PART II Hissing Snakes and Angelic Hosts German Literature, Circa 1720–1770
- Chapter 3 Reforming Aesthetics Bodmer and Breitinger’s Anti- Musical Sublime
- Chapter 4. Klopstock, Rustling, and the Antiphonal Sublime
- PART III Sublime Beauty and the Wrath of the Organ English and German Literature, Circa 1770–1850
- 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
- Conclusion
- Notes
- Bibliography
- Index
- Acknowledgments