Phantom Limbs: On Musical Bodies
ພ.ຈ. 2015 · Fordham Univ Press
1,0star
1 ຄຳຕິຊົມreport
ປຶ້ມອີບຸກ
208
ໜ້າ
reportບໍ່ໄດ້ຢັ້ງຢືນການຈັດອັນດັບ ແລະ ຄຳຕິຊົມ ສຶກສາເພີ່ມເຕີມ
ກ່ຽວກັບປຶ້ມ e-book ນີ້
The prostheses Peter Szendy explores—those peculiar artifacts known as musical instruments—are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung.
The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy’s hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective “social” body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.
Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of music’s conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk.
The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy’s hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music composes and disposes there lies the figure of a collective “social” body ready to emerge amid an innervated apparatus that operates at a distance, telepathically.
Phantom Limbs touches on bodies of all shapes and sizes that haunt the edges of music’s conceptualizations. Music continually reinvents such bodies and reconvenes them in new collective formations. It is their dynamics and crystallizations that Szendy auscultates on a motley corpus that includes Bach, Diderot, Berlioz, Eisenstein, Disney, and Monk.
ການຈັດອັນດັບ ແລະ ຄຳຕິຊົມ
1,0
1 ຄຳຕິຊົມ
ກ່ຽວກັບຜູ້ຂຽນ
Peter Szendy is David Herlihy Professor of Humanities and Comparative Literature at Brown University and musicological advisor for the concert programs at the Paris Philharmonie. His books include Of Stigmatology: Punctuation as Experience; All Ears: The Aesthetics of Espionage; Apocalypse-Cinema: 2012 and Other Ends of the World; Kant in the Land of Extraterrestrials; Hits: Philosophy in the Jukebox; and Listen: A History of Our Ears..
ໃຫ້ຄະແນນ e-book ນີ້
ບອກພວກເຮົາວ່າທ່ານຄິດແນວໃດ.
ອ່ານຂໍ້ມູນຂ່າວສານ
ສະມາດໂຟນ ແລະ ແທັບເລັດ
ຕິດຕັ້ງ ແອັບ Google Play Books ສຳລັບ Android ແລະ iPad/iPhone. ມັນຊິ້ງຂໍ້ມູນໂດຍອັດຕະໂນມັດກັບບັນຊີຂອງທ່ານ ແລະ ອະນຸຍາດໃຫ້ທ່ານອ່ານທາງອອນລາຍ ຫຼື ແບບອອບລາຍໄດ້ ບໍ່ວ່າທ່ານຈະຢູ່ໃສ.
ແລັບທັອບ ແລະ ຄອມພິວເຕີ
ທ່ານສາມາດຟັງປຶ້ມສຽງທີ່ຊື້ໃນ Google Play ໂດຍໃຊ້ໂປຣແກຣມທ່ອງເວັບຂອງຄອມພິວເຕີຂອງທ່ານໄດ້.
eReaders ແລະອຸປະກອນອື່ນໆ
ເພື່ອອ່ານໃນອຸປະກອນ e-ink ເຊັ່ນ: Kobo eReader, ທ່ານຈຳເປັນຕ້ອງດາວໂຫຼດໄຟລ໌ ແລະ ໂອນຍ້າຍມັນໄປໃສ່ອຸປະກອນຂອງທ່ານກ່ອນ. ປະຕິບັດຕາມຄຳແນະນຳລະອຽດຂອງ ສູນຊ່ວຍເຫຼືອ ເພື່ອໂອນຍ້າຍໄຟລ໌ໄໃສ່ eReader ທີ່ຮອງຮັບ.
