"Focusing on English and German texts and the intricate relationships between them, this book seeks to reread-or, perhaps better, re-sound-sublimity through the lens of music, 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 century. Closely reading a series of canonical and little-known literary and critical texts in dialogue with musical cultures, the book offers new perspectives on ...
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"Focusing on English and German texts and the intricate relationships between them, this book seeks to reread-or, perhaps better, re-sound-sublimity through the lens of music, 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 century. Closely reading a series of canonical and little-known literary and critical texts in dialogue with musical cultures, the book offers new perspectives on the sublime as a transdisciplinary, transmedial, and transcultural phenomenon. In doing so, it argues for the importance of sonic models to the sublime; it traces harmonious, discordant, and resolutely silent varieties of sublimity; and it suggests resonances between past sublimes and current aesthetics and ethics"--
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