Quelle:Peter Lang,, Volume volume 2, New York, p.xv, 178 pages (2023)
Schlüsselwörter:(OCoLC)fst00972484, (OCoLC)fst01030696, (OCoLC)fst01030893, (OCoLC)fst01046145, fast, Influence (Literary, artistic, etc.), Musical analysis., Musicology., Opera.
Includes bibliographical references and index.Foreword. If Žižek Be the Food of Musicology / Mauro Fosco Bertola -- Introduction. Žižek's Aesthetics of Music: From Romanticism to Modernism / Mauro Fosco Bertola -- I. DID SOMEBODY SAY MUSICOLOGY? ŽIŽEK AND MUSICOLOGY'S SUBLIME OBJECT(S). Musicology's Second Death(s) / Carlo Lanfossi ; The Sublime Object of Music Analysis / Amy Bauer -- II. OPERA, ONTOLOGY AND CAPITALISM. C Major or E-Flat Minor? No, Thanks! Busoni's Faust-Allegory / Slavoj Žižek ; Post-Kantian Dreams. Kaija Saariaho's Operatic Ontology and its Dreamscapes in L'amour de loin / Mauro Fosco Bertola ; Singing in the Age of Capitalist Realism. The Pervert's Guide to (Post)Opera / Jelena Novak -- III. MUSIC AND THE POLITICAL. Cage, Reich, and Morris: Process and Sonic Fetishism / Samuel J. Wilson ; Subjective Destitution in Art and Politics / Slavoj Žižek."Over the last three decades Slavoj Žižek has become an iconic figure of intellectuel engagé and his works have engendered ongoing reflection within as different academic disciplines as philosophy, literature or cultural, gender, postcolonial and film studies. But when it comes to music, things look different. With an emphasis on the German modernist tradition from Wagner to Schönberg, a whole range of references to music are scattered throughout Žižek's copious body of works. However, these efforts seem to go almost unnoticed within academia - at least on first glance. Looking more closely, one notices a subtle but nevertheless consistent adoption of Žižek's theories within musicology, spreading across a broad range of topics and approaches. So, Žižek has become part of musicology, even if his presence is still uncharted territory. The present volume, which appeals to musicologists and philosophers alike, intends to map different ways in which Žižek's philosophy has been adopted in order to approach many of musicology's core questions, from musical analysis to the opera studies, from contemporary music to the history of the discipline itself. At the same time it both reflects on and questions Žižek's positions on musical aesthetics as expressed in his writings. Last but not least, the volume also features two essays by Žižek himself, reflecting his different approaches to writing about music"--