tailieunhanh - Poetry and the Romantic Musical Aesthetic

The problem of subjectivity is a profound one. Jackall’s very powerful book, out of print, gives at least some guidance. Looking at ‘the occupational ethics of corporate managers’ (1998, 4) he asserts that career minded managers do not have to work hard but well: that a bureaucracy, which he considers the main structure of organisations, ‘transforms all moral issues into immediately practical concerns.’ (ibid 1988, 111) He anticipates the work of the PRS-LTSN of Leeds University below, by suggesting the integration of ethical concerns to the point where they become hard to determine. . | Poetry and the Romantic Musical Aesthetic reviewed by Martine Prange Hyperion Volume V issue 1 May 2010 Poetry n -n r ll-1R POETRY AND THE ROMANTIC MUSICAL AESTHETIC a review of Romantic Musical Aesthetic 135 Hyperion Poetry and the Romantic Musical Aesthetic reviewed by Martine Prange University of Amsterdam University of Maastricht The Netherlands James H. Donelan Cambridge University Press 2008 HYPERION. On the future of aesthetics MUSIC Two hundred years have passed since the premiere of Beethoven s Fifth and Sixth Symphonies the publication of Hegel s Phenomenology of Spirit the end of Wordsworth s Golden Decade and the beginning of Holderlin s madness yet these four key figures of Romanticism and Idealism all born in the year 1770 still occupy a tremendous place in the collective cultural imagination for the reason that as James Donelan argues in his fine Poetry and the Romantic Musical Aesthetic in their works they addressed issues of identity freedom and beauty that still matter p. 176 . they express hope for the reintegration of the self through beauty p. 177 . That is the wider extra-musical meaning that absolute instrumental non-programmatic music conveys particularly Beethoven s String Quartet No. 13 according to Donelan. How can music represent self-consciousness is the central question of an account that soon admits that music indeed can represent self-consciousness according to the Romantic-Idealist aesthetic which goes so far as to imagine music and self-consciousness as mutually positing reciprocal dialectical structures p. xi . Recently Andrew Bowie already demonstrated the intimate I - JV X. - I I T mutually qualifying relationship between music and modern subjectivity in Modern German philosophy while inquiring the meaning of music qua music instead of as language in Aesthetics and Subjectivity from Kant to Nietzsche 2nd ed. 2003 and Music Philosophy and Modernity Cambridge University Press 2007 . Donelan operates along similar lines .