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Resounding the Sublime

What does the sublime sound like? Miranda Stanyon traces competing varieties of the sublime, a crucial modern aesthetic category, as shaped by the antagonistic intimacies between music and language. In resounding the history of the sublime over the course of the long eighteenth century, she finds a phenomenon always already resonant.

Resounding the Sublime
Music in English and German Literature and Aesthetic Theory, 1670-1850

Miranda Eva Stanyon

2021 | 304 pages | Cloth $75.00
Literature
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Table of Contents

Contents

List of 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

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