The Rhythm of Thought: Art, Literature, and Music after by Jessica Wiskus

By Jessica Wiskus

Among current and prior, noticeable and invisible, and sensation and notion, there's resonance—so thinker Maurice Merleau-Ponty argued and so Jessica Wiskus explores within the Rhythm of idea. retaining the poetry of Stéphane Mallarmé, the work of Paul Cézanne, the prose of Marcel Proust, and the song of Claude Debussy lower than Merleau-Ponty’s phenomenological gentle, she bargains cutting edge interpretations of a few of those artists’ masterworks, in flip articulating a brand new point of view on Merleau-Ponty’s philosophy.

More than purely convalescing Merleau-Ponty’s proposal, Wiskus thinks based on it. First reading those artists in terms of noncoincidence—as silence in poetry, intensity in portray, reminiscence in literature, and rhythm in music—she strikes via an array in their works of art towards a few of Merleau-Ponty’s most enjoyable subject matters: our physically dating to the realm and the dynamic technique of expression. She closes with an exam of synesthesia as an intertwining of inner and exterior nation-states and a decision, ultimately, for philosophical inquiry as a style of inventive expression. based like a section of track itself, The Rhythm of inspiration bargains new contexts within which to strategy paintings, philosophy, and the resonance among them.

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The Rhythm of Thought: Art, Literature, and Music after Merleau-Ponty

Among current and prior, seen and invisible, and sensation and inspiration, there's resonance—so thinker Maurice Merleau-Ponty argued and so Jessica Wiskus explores within the Rhythm of proposal. maintaining the poetry of Stéphane Mallarmé, the work of Paul Cézanne, the prose of Marcel Proust, and the tune of Claude Debussy below Merleau-Ponty’s phenomenological mild, she bargains leading edge interpretations of a few of those artists’ masterworks, in flip articulating a brand new standpoint on Merleau-Ponty’s philosophy.

Extra info for The Rhythm of Thought: Art, Literature, and Music after Merleau-Ponty

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It is their listening behaviour that gives public expression to their private responses. In this sense we are attempting to uncover motivations for behaviour or action. It is instructive 29 30 An outline topography of musical accessibility in this context to relate the discussion of uses9 of music to Weber’s four fundamental kinds of social action (1971: 80), which he identifies as: 1. 2. 3. 4. Action for a purpose (such as saving money in order to buy something). Action for (moral) values (such as giving to charity).

Presentational issues are also relevant when music is recorded and distributed via various media. We may be more likely to connect with music from one medium than another, and media lend themselves to particular packaging, distribution, explication and association. What is musical accessibility? Although they can be studied in most historical contexts, accessibility issues are particularly pertinent to our time. Galloping globalisation, developments in media, and particularly the internet revolution, are facilitating contact with myriad musical expressions.

17 Music industry strategies have tended to channel music into widely accepted styles, promoting artists who are likely to return maximum profit. Whereas this will aid customers who prefer music by such artists and in such styles, it militates against anyone on the creative side wanting to work outside or indeed between those parameters, and on the consumer side against anyone hoping to find something genuinely unexpected, challenging or of minority interest. An idea of two different kinds of subject is beginning to crystallise from this analysis, and with it two kinds of attraction.

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