By Jeffrey S. Librett
This present day, the chic has back develop into the focal point of sustained reconsideration, yet now for its epistemological and ontological—or presentational—aspects. As an unmasterable far more than good looks, the elegant marks the boundaries of representational pondering. those essays may be critical interpreting for somebody whose paintings is anxious with the elegant or, extra typically, with the bounds of illustration, together with philosophers, literary students and paintings historians.
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This anthology is notable not just for the decisions themselves, between which the Schelling and the Heidegger essays have been translated in particular for this quantity, but additionally for the editors' normal creation and the introductory essays for every choice, which make this quantity a useful reduction to the research of the robust, recurrent principles bearing on artwork, good looks, severe strategy, and the character of illustration.
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This day, the elegant has back develop into the focal point of sustained reconsideration, yet now for its epistemological and ontological—or presentational—aspects. As an unmasterable far more than good looks, the elegant marks the boundaries of representational pondering. those essays might be critical examining for a person whose paintings is anxious with the chic or, extra normally, with the boundaries of illustration, together with philosophers, literary students and paintings historians.
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Additional resources for Of the Sublime: Presence in Question
In tracing, there is no potential in the process of emergence that is not contained in the sensible form of the product. The emergence of difference is 11 Deleuze and Guattari, A Thousand Plateaus, 11-14. 12 Brian Massumi, “Like a Thought,” in A Shock to Thought: Expression after Deleuze and Guattari, ed. Brian Massumi (New York: Routledge, 2002), 8. 47 not treated as the consequence of the differing power of process, but as the emergence of subjective error—a failure of competence: A genetic axis is like an objective pivotal unity upon which successive stages are organized; a deep structure is more like a base sequence that can be broken down into another, transformational and subjective, dimension… A variation on the oldest form of thought.
31 While the essays included in this volume provide considerable expansion and explication of Deleuze’s philosophy in general and his musical philosophy in particular, they often approach music as a way of illuminating aspects of the philosophical framework rather than bringing the tools of Deleuze’s philosophy to bear on music per se. 32 More recently, Brian Hulse and Nick Nesbitt (a contributor to the Buchanan/Swiboda Deleuze and Music) compiled an important collection of essays that marks a shift in Deleuzian music studies.
16 All we devise, therefore, are copies of copies. Or perhaps worse – copies with no model at all. Something other than a “possibility” precedes these performances, something other than a clear and distinct conceptual mold.
Of the Sublime: Presence in Question by Jeffrey S. Librett