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Editorial Introduction: Musicality and Modernist Form

Editorial Introduction: Musicality and Modernist Form David James and Nathan Waddell Musico-literary questions have long informed modernist studies.1 Issues of form have been at the heart of such scholarship, which continues to explore intermedial connections between music and literature by examining, in David Michael Hertz's words, `the ubiquitous dialectic between form and content, structure and meaning.'2 However, the cultural-historical `turn' in modernist studies means that investigations of the problem of `musicalised' literature, for instance, or of literary representations of musical themes and figures, now tend to be inflected by carefully historicised and theoretically informed accounts of modernism's musico-literary implications. Thus, recent work on musico-literary modernism represents an important development of mid-twentieth-century reassessments (undertaken by such philosophers as Theodor Adorno and Ernst Bloch) of music's place in modernity. Hence Ronald Schleifer's recourse to philosophical aesthetics in his recent book Modernism and Popular Music (2011), and his claim that studying modernism from a musico-literary viewpoint requires attention to the material and socio-cultural determinants of twentieth-century subjectivity as well as `the continuities and discontinuities' by which modernity itself is underpinned.3 This special issue of addresses all of these areas of debate by collecting essays which address the formal, contextual, and philosophical implications of musico-literary modernism. In doing http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Editorial Introduction: Musicality and Modernist Form

Modernist Cultures , Volume 8 (1): 1 – May 1, 2013

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press 2013
Subject
Film, Media and Cultural Studies
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/mod.2013.0048
Publisher site
See Article on Publisher Site

Abstract

David James and Nathan Waddell Musico-literary questions have long informed modernist studies.1 Issues of form have been at the heart of such scholarship, which continues to explore intermedial connections between music and literature by examining, in David Michael Hertz's words, `the ubiquitous dialectic between form and content, structure and meaning.'2 However, the cultural-historical `turn' in modernist studies means that investigations of the problem of `musicalised' literature, for instance, or of literary representations of musical themes and figures, now tend to be inflected by carefully historicised and theoretically informed accounts of modernism's musico-literary implications. Thus, recent work on musico-literary modernism represents an important development of mid-twentieth-century reassessments (undertaken by such philosophers as Theodor Adorno and Ernst Bloch) of music's place in modernity. Hence Ronald Schleifer's recourse to philosophical aesthetics in his recent book Modernism and Popular Music (2011), and his claim that studying modernism from a musico-literary viewpoint requires attention to the material and socio-cultural determinants of twentieth-century subjectivity as well as `the continuities and discontinuities' by which modernity itself is underpinned.3 This special issue of addresses all of these areas of debate by collecting essays which address the formal, contextual, and philosophical implications of musico-literary modernism. In doing

Journal

Modernist CulturesEdinburgh University Press

Published: May 1, 2013

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