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Self-consciousness and music in earl...

Yale University.

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Self-consciousness and music in early Romanticism: Hoelderlin, Hegel, Wordsworth, and Beethoven.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Self-consciousness and music in early Romanticism: Hoelderlin, Hegel, Wordsworth, and Beethoven./
作者:	Donelan, James Hanley.
面頁冊數:	243 p.
附註:	Adviser: Cyrus Hamlin.
Contained By:	Dissertation Abstracts International54-08A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9400618

Self-consciousness and music in early Romanticism: Hoelderlin, Hegel, Wordsworth, and Beethoven.
Donelan, James Hanley.

Self-consciousness and music in early Romanticism: Hoelderlin, Hegel, Wordsworth, and Beethoven. - 243 p.

Adviser: Cyrus Hamlin.

Thesis (Ph.D.)--Yale University, 1993.

The dissertation focuses on the independent, yet parallel achievements of four representative figures at the beginning of the Romantic period: Holderlin, Hegel, Wordsworth, and Beethoven. Detailed analysis of their later works reveals that music became a central metaphor for self-consciousness in Idealist philosophical aesthetics, which in turn led several major practicing composers and poets to incorporate the concept of self-consciousness into their own work through musical structures. The four principal chapters of the dissertation analyze works which clearly demonstrate this turning point within their individual genres: Wordsworth's Prelude, Holderlin's later poetry, Hegel's Vorlesungen uber die Asthetik, and Beethoven's late quartets.Subjects--Topical Terms:

530051
Literature, Comparative.

Self-consciousness and music in early Romanticism: Hoelderlin, Hegel, Wordsworth, and Beethoven.
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520 $a The dissertation focuses on the independent, yet parallel achievements of four representative figures at the beginning of the Romantic period: Holderlin, Hegel, Wordsworth, and Beethoven. Detailed analysis of their later works reveals that music became a central metaphor for self-consciousness in Idealist philosophical aesthetics, which in turn led several major practicing composers and poets to incorporate the concept of self-consciousness into their own work through musical structures. The four principal chapters of the dissertation analyze works which clearly demonstrate this turning point within their individual genres: Wordsworth's Prelude, Holderlin's later poetry, Hegel's Vorlesungen uber die Asthetik, and Beethoven's late quartets.
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