Men with a Past: Music and the "Anxiety of Influence"

1994 ◽  
Vol 18 (2) ◽  
pp. 152-167 ◽  
Author(s):  
Lloyd Whitesell
Keyword(s):  
Anxiety Of Influence

Deductive Hedonism and the Anxiety of Influence

Utilitas ◽  
2000 ◽  
Vol 12 (3) ◽  
pp. 329-346 ◽  
Author(s):  
D. Weinstein
Keyword(s):  
Evolutionary Theory ◽  
Moral Rights ◽  
The Real ◽  
Herbert Spencer ◽  
Anxiety Of Influence

This paper examines the undervalued role of Herbert Spencer in Sidgwick's thinking. Sidgwick recognized Spencer's utilitarianism, but criticized him on the ground that he tried to deduce utilitarianism from evolutionary theory. In analysing these criticisms, this paper concludes that Spencer's deductive methodology was in fact closer to Sidgwick's empiricist position than Sidgwick realized. The real source of Sidgwick's unhappiness withSpencer lies with the substance of Spencer's utilitarianism, namely its espousal of indefeasible moral rights.

A Review Essay: Author, Text, Authority: Anxiety of Influence in the Renaissance

1987 ◽  
Vol 17 (3) ◽  
pp. 72
Author(s):  
W. H. Herendeen ◽  
Margaret W. Ferguson ◽  
David Quint
Keyword(s):  
Review Essay ◽  
Anxiety Of Influence

scholarly journals “The Anxiety of Influence”: Rashbam's Approach to Rashi's Commentary on the Torah

AJS Review ◽  
2016 ◽  
Vol 40 (2) ◽  
pp. 279-303
Author(s):  
Eran Viezel
Keyword(s):  
Theoretical Model ◽  
Harold Bloom ◽  
Anxiety Of Influence ◽  
Methodological Principles

Rashbam's approach to Rashi's commentary on the Torah is characterized by contrasts: originality and continuity, independence and dependence, open admiration and flagrant aggression. Scholars have clarified various aspects of this complex stance, yet their analyses do not provide a comprehensive explanation for it. This article argues that Rashbam's approach to Rashi's commentary is not based on methodological principles alone, but also includes an emotional element that is in part unconscious. To analyze these complex emotional elements of the text, the article uses a theoretical model that demonstrates that the ambivalence reflected in the text is not unusual, and in fact can be found in relationships between other writers— “the anxiety of influence,” as formulated by Harold Bloom. This conclusion sheds new light on Rashbam's commentary, including several of its more well-known passages.

Conclusion

2018 ◽  
Author(s):  
Hélène Ibata
Keyword(s):  
Umberto Eco ◽  
Profound Influence ◽  
Anxiety Of Influence ◽  
The One

I believe it is fruitful to let the wheels of intertextuality rotate fully in order to see how the interplay of influence works in unexpected ways. Sometimes the most profound influence is the one you discover afterward, not the one you find immediately. (Umberto Eco, ‘Borges and My Anxiety of Influence’...

Mahler's Bruckner, between Devotion and Misprision

2017 ◽  
Vol 70 (2) ◽  
pp. 357-432
Author(s):  
Benjamin M. Korstvedt
Keyword(s):  
New York ◽  
Personal Relationship ◽  
Harold Bloom ◽  
Self Image ◽  
Anxiety Of Influence ◽  
Materials Used ◽  
Artistic Self

This article centers on a detailed study of Mahler's performing version of Bruckner's Fourth Symphony. This study, which is based on the orchestral materials used in Mahler's performances in Vienna (1900) and New York (1910), outlines the changes Mahler made to the work, particularly a series of major cuts, and considers their musical significance. The article uses these observations as an occasion for analyzing aspects of Mahler's complex personal and musical relationship to the older composer. It argues that, beyond the manifest issues of symphonic form and style raised by Mahler's adaptation, something deeper was also at work: in performing Bruckner in a heavily edited form Mahler was unconsciously negotiating his own artistic relationship to his great predecessor. This process must have been particularly fraught given Mahler's deeply contradictory sentiments about Bruckner's music, the two composers’ personal relationship, and the public's image of their affiliation. The article argues that Mahler's treatment of Bruckner's Fourth was palpably haunted by what Harold Bloom famously defined as “the anxiety of influence” and that this led him to attempt to remake Bruckner's symphony in ways that were more in keeping with his own artistic self-image. It concludes by suggesting that later generations have inherited something of Mahler's anxiety about his musical affiliation with Bruckner.

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