Beyond Rhetoric

2021 ◽  
pp. 322-364
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
String Quartets ◽  
Musical Form ◽  
The Aesthetic ◽  
Multiple Agency

The chapter starts with the discussion of the aesthetic category of “humorous music,” which emerged in the last decade of the eighteenth century, and links it to the theory of multiple agency, proposed by Edward Klorman (2016). There follow two case studies of hypermetric manipulations in the first movements of Haydn’s string quartets Op. 50 No. 3 and Op. 64 No. 1. These analyses reveal how such manipulations act in concert with ingenious deployment of musical topics and contrapuntal-harmonic schemata, and how they affect musical form. The chapter closes with remarks about the role of the first violinist in Haydn’s string quartets.

Tools for Science

Nuncius ◽  
2018 ◽  
Vol 33 (2) ◽  
pp. 236-264 ◽  
Author(s):  
Emmanuelle Chapron
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
Professional Knowledge ◽  
The Public ◽  
Scientific Institutions ◽  
Definition Of ◽  
Santa Maria ◽  
Scientific Academies

Abstract This article presents an overall reflection on the libraries that were assembled in scientific institutions in France and Italy in the eighteenth century using case studies and comparative approaches. It focuses in particular on five scientific academies (located in Turin, Florence, Paris and Brest) and two Florentine institutions, the Museo di Fisica e di Storia Naturale and the Santa Maria Nuova Hospital. Decisions made regarding library premises, book procurement policies, catalogue publications and whether or not to open to the public were all investments that demonstrated the role of the written culture in the identity of scholarly communities, including those (such as the naval and surgeons’ communities) whose members had long been seen as professionals firmly rooted in a manual practice that was detached from theory. This article thus shows how libraries participated in the institutionalisation of scientific activities, the definition of professional knowledge and the formation of scholarly collectives.

A Cultural History of Memory in the Eighteenth Century

2020 ◽  
Keyword(s):  
Eighteenth Century ◽  
Cultural History ◽  
French Revolution ◽  
Collective Identity ◽  
Age Of Revolution ◽  
Arts And Sciences ◽  
The Arts ◽  
History Of ◽  
The Aesthetic

The Cultural History of Memory in the Eighteenth Century places in sharp relief the contrast between inspiring ideas that heralded an auspicious future and immemorial traditions that cherished a vanishing past. Waxing large during that era was the European Enlightenment, with its projects for reform and optimistic forecasts about the prospect of making a better world. Heritage was reframed, as martyrs for the cause of religious liberty and heroes for the promotion of the arts and sciences were enshrined in a new pantheon. They served as icons marking a pathway toward a presumed destiny, amid high hopes that reason would triumph over superstition to guide the course of human affairs. Such sentiments gave reformers a new sense of collective identity as an imagined community acting in the name of progress. Against this backdrop, this volume addresses a variety of themes in memory’s multi-faceted domain, among them mnemonic schemes in the transition from theist to scientific cosmologies; memory remodeled in the making of print culture; memory’s newfound resources for introspection; politics reimagined for the modern age; the nature of tradition reconceived; the aesthetics of nostalgia for an aristocracy clinging to a tenuous identity; the lure of far-away places; trauma in an age of revolution; and the emerging divide between history and collective memory. Along the way, contributors address such topics as the idea of nation in early modern politics; the aesthetic vision of Hubert Robert in his garden landscapes; the transforming effects of the interaction between mind and its mnemonic satellites in print media; Shakespeare remembered and commemorated; the role of memory in the redesign of historiography; the mediation of high and popular culture through literature; soul-searching in female autobiography; and commemorative practices during the French Revolution.

The First Movement of Mahler’s Tenth Symphony and the “Burden” of Romantic Form

2019 ◽  
Vol 41 (2) ◽  
pp. 323-340
Author(s):  
Eric Hogrefe
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Sonata Form ◽  
Musical Form ◽  
Classical Form ◽  
Hayden White ◽  
Metaphor And Metonymy

AbstractStudies of post-Classical form must inevitably contend with the issue of how eighteenth-century practices retain relevance in later repertory. This article offers a framework for considering musical form and historical distance around the beginning of the twentieth century. Following historian Hayden White, I analyze the first movement of Mahler’s Tenth Symphony as an example of formal troping. Mahler’s movement is shown to enact a conflict between metaphor and metonymy in its treatment of Adagio practice and sonata form. In portraying Mahler’s form tropologically, this article emphasizes the role of historical distance within Mahler’s formal imagination.

scholarly journals MANNERS AND METHOD IN CLASSICAL CRITICISM OF THE EARLY EIGHTEENTH CENTURY

2013 ◽  
Vol 59 ◽  
pp. 98-124
Author(s):  
Matthew Fox
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
Classical Scholarship ◽  
History Of ◽  
Early Eighteenth Century ◽  
History Of Scholarship

This article explores a neglected period in the history of classical scholarship: the first decades of the eighteenth century. It focuses on the tension between an evolving idea of method, and the tradition of personal polemic which had been an important part of the culture of scholarship since the Renaissance. There are two case studies: the conflict between Jean Le Clerc and Pieter Burman, and the controversy that followed Richard Bentley's edition of Horace's Odes. Both demonstrate the need to revise current paradigms for writing the history of scholarship, and invite us to reconsider the role of methodology in producing of scholarly authority.

Sonic branding and the aesthetic infrastructure of everyday consumption

Popular Music ◽  
2021 ◽  
pp. 1-16
Author(s):  
Susie Khamis ◽  
Brent Keogh
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Marketing Strategies ◽  
Brand Strategy ◽  
The Past ◽  
Popular Music Studies ◽  
Sonic Branding ◽  
Scholarly Discussion ◽  
The Aesthetic

Abstract Sonic branding – the sonic expression of a brand's identity – is the audio equivalent of a brand's logo, a sound that is both distinct and adaptable to diverse contexts, and serves to communicate a brand's narrative. Sonic branding has been a feature of marketing strategies for the past two decades, but more recently there has been increased commercial interest in sonic branding, a move from the ‘visual turn’ to the ‘sonic turn’, as voice activation technologies such as Siri, Amazon's Alexa and Google Assistant immerse the consumer in a personal encounter across diverse sensory touch points. While there has been significant scholarly discussion in popular music studies of the ways that sound is employed to increase capital in commercial contexts, little has been written to address the ways in which popular music is courted and implicated in brand strategy specific to sonic branding. In this paper, we consider the ways in which sounds are embedded in contemporary brand practice and detail the ways in which popular musicians and genres are complicit partners in ‘branding to the senses’. Here, we focus on two sonic branding case studies – Mastercard and HSBC – which highlight the key role of popular music in constructing the way we ‘hear’ brands.

scholarly journals "This Immense Expense of Art": George Eliot and John Ruskin on Consumption and the Limits of Sympathy

2010 ◽  
Vol 65 (2) ◽  
pp. 214-245 ◽  
Author(s):  
Emily Coit
Keyword(s):  
Eighteenth Century ◽  
Cultural Capital ◽  
Moral Philosophy ◽  
George Eliot ◽  
Consumer Ethics ◽  
John Ruskin ◽  
Moral Thought ◽  
Aesthetic Pleasure ◽  
The Aesthetic

Emily Coit, "'This Immense Expense of Art': George Eliot and John Ruskin on Consumption and the Limits of Sympathy" (pp. 214––245) This essay attempts to better our understanding of George Eliot's conservatism by examining a body of ideas about consumption and moral obligation that she and John Ruskin share. I use a discussion of consumer ethics to explore the moral logic of their conservatism by examining the role of the aesthetic within it. Economic consumption and the aesthetic are subjects inextricably connected, not just because the discourses of political economy and aesthetics have a shared origin in eighteenth-century moral philosophy, but also because the discourse of aesthetics has long served to legitimize select modes and acts of consumption. By marking out a limit where one may reasonably cease to sympathize and instead devote energy (and money) to personal gratification, the treatment of consumption in George Eliot's Middlemarch (1871) offers an important articulation of moral thought. Eliot suggests that aesthetic pleasure can make consumption morally defensible, but she also anticipates Pierre Bourdieu's critique of the aesthetic: her novel represents both the display of cultural capital and the exercise of the aesthetic disposition as ways of maintaining social and economic hierarchies. She thus at once critiques and participates in the system within which the aesthetic functions to preserve social and political stasis. Using John Ruskin's economic writings to expose Middlemarch as a novel of consumer ethics, this essay examines Eliot's representation of personal economic consumption as an emergent mode of social and political agency that might operate productively within that stasis.

Imagination, in modern philosophy

2018 ◽  
Author(s):  
Jonathan Cottrell
Keyword(s):  
Eighteenth Century ◽  
Modern Philosophy ◽  
Crucial Role ◽  
Human Mind ◽  
Mental Images ◽  
Standard View ◽  
The Aesthetic ◽  
The Relationship ◽  
The Brain

In the modern philosophical period, the imagination (sometimes called the ‘fancy’) is standardly seen as a faculty for having mental images, and for making non-rational, associative transitions among such images. This standard view forms a common core of many modern philosophers’ theories of the imagination. Different philosophers elaborate upon it in different ways: for example, some add that there is a close connection between the imagination and the brain; some, that the imagination interacts with the passions in important ways; and some, that the imagination plays a crucial role in explaining how we create artworks and how we appreciate the aesthetic properties of things. The modern period saw several important controversies among philosophers who share the standard view of the imagination. Perhaps most importantly, Descartes, Arnauld and Nicole, Spinoza, and Leibniz argue that in addition to the faculty of the imagination, we have a faculty of pure intellect or pure understanding, while Hobbes, Gassendi, and Hume deny this. Other important controversies concern the relationship between imagination and reasoning, and the role of the imagination – if any – as a source of modal knowledge, that is, knowledge of what is possible rather than merely actual. Late in the eighteenth century, Reid and Kant criticized the standard view. Reid claims to disagree with his predecessors about the association of ideas and about the nature of mental images. (However, it is unclear whether he interprets his predecessors correctly; some of his objections may miss their mark.) For his part, Kant agrees with the standard view that the imagination is a faculty for having and associating mental images. But he argues that these reproductive functions of the imagination take place in the human mind thanks to different, productive functions of the imagination that earlier philosophers did not recognize. His account of these productive functions of the imagination plays a central role in his epistemology and aesthetics.

Narratives of Structural Pacing in Mozart's String Quartets and Quintets

KronoScope ◽  
2009 ◽  
Vol 9 (1-2) ◽  
pp. 61-80
Author(s):  
Katharina Clausius
Keyword(s):  
Eighteenth Century ◽  
Chamber Music ◽  
Spatial Dynamics ◽  
Structural Models ◽  
String Quartets ◽  
Critical Perspective ◽  
Ferdinand De Saussure ◽  
Late Eighteenth Century ◽  
Late Eighteenth

AbstractThe sonata and rondo forms of Mozart's chamber music for strings rely on specific temporal-spatial dynamics that evade simple comparison to generic structural models. I rely on an understanding of the dual interaction of “real” and “musical” time, here defined as musical “pacing,” in order to examine the role of temporality in the linear narratives of typical late eighteenth-century forms. The linguistic theory of syntax and paratax proposed by structuralist Ferdinand de Saussure suggests a critical perspective clarifying the interdependent dynamics that define Mozartian forms. Within this structuralist context, the linearity of temporal progression ultimately escapes through music's vertical moment of resolution. The temporal impulse of Mozart's tonal structures both defines and liberates itself through his narratives of musical pacing.

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