The Sound of i ek

Over the last three decades Slavoj iek 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.

Auteur

Mauro Fosco Bertola studied philosophy in Italy and musicology in Heidelberg. He is the author of Die List der Vergangenheit. Musikwissenschaft, Rundfunk und Deutschlandbezug in Italien, 1890-1945 (2014) as well as co-editor of Zizek and Music (2017) and An den Rändern des Lebens. Träume vom Sterben und Geborenwerden in den Künsten (2019). He is currently leading a DFG-funded project on the presence of dream in contemporary musical theatre at the University of Tübingen.

Texte du rabat

Over the last three decades Slavoj Zizek 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 Zizek'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 Zizek's theories within musicology, spreading across a broad range of topics and approaches. So, Zizek 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 Zizek'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 Zizek's positions on musical aesthetics as expressed in his writings. Last but not least, the volume also features two essays by Zizek himself, reflecting his different approaches to writing about music.

Contenu

Mauro Fosco Bertola: Foreword: If iek Be the Food of Musicology Mauro Fosco Bertola: Introduction: Slavoj iek's Aesthetics of Music. From Romanticism to Modernism Carlo Lanfossi: Musicology's Second Death(s) Amy Bauer: The Sublime Object of Music Analysis Slavoj iek: C Major or E- Flat Minor? No, Thanks! Busoni's Faust- Allegory Mauro Fosco Bertola: Post- Kantian Dreams. Kaija Saariaho's Operatic Ontology and Its Dreamscapes in L'amour de loin Jelena Novak: Singing in the Age of Capitalist Realism. The Pervert's Guide to (Post)Opera Samuel J. Wilson: Cage, Reich, and Morris: Process and Sonic Fetishism Slavoj iek: Subjective Destitution in Art and Politics Contributors.