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By Jacques Rancière, Zakir Paul

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Composed in a chain of scenes, Aisthesis--Rancière's definitive assertion at the aesthetic--takes its reader from Dresden in 1764 to big apple in 1941. alongside the way in which, we view the Belvedere Torso with Winckelmann, accompany Hegel to the museum and Mallarmé to the Folies-Bergère, attend a lecture via Emerson, stopover at exhibitions in Paris and big apple, factories in Berlin, and movie units in Moscow and Hollywood. Rancière makes use of those websites and events--some well-known, others forgotten--to ask what turns into paintings and what comes of it. He indicates how a regime of inventive belief and interpretation used to be constituted and reworked by means of erasing the specificities of different arts, in addition to the borders that separated them from usual event. This incisive examine offers a background of inventive modernity a long way faraway from the traditional postures of modernism.

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Chapter Five deals with Celan’s late poetry, and argues that music appears there as a positive presence to the extent that it can be understood as a human, terrestrial practice. The well-known ‘Fadensonnen’ [Threadsuns] is read side-by-side with settings by Michael Denhoff, Wolfgang Rihm and Harrison Birtwistle to disclose different interpretations of the poem’s conflicted conception of song. After this, I address three poems (‘Sperriges Morgen’ [Unwieldy Tomorrow], ‘Schwirrhölzer’ [Bullroarers] and ‘Hafen’) where the first-person plural – the communal ‘we’ so markedly absent from ‘Fadensonnen’ – serves to connect the notion of song with a projection of hope, albeit desperate, for human solidarity.

H. e. ]43 In the poem, this Kantian notion of the aesthetic is primarily represented by music: the commandant is a musical Liebhaber demanding musical performance of his prisoners before murdering them. The use of death as an accusative to the verb play – ‘spielt süßer den Tod’ – prompts us to understand the mastery as musical as well as political, since death is a master that can be played. This notion is closely connected to the specific form of the fugue: being a technically advanced form, it evokes the commonplace association of musical craftsmanship, of contrapuntal writing as a token of a highly developed compositional skill.

P. 79. Play Death Sweeter: Musicality, Metaphoricity, Murder 31 according to which the text was composed. In fact, when the poem was published for the very first time in 1947, in a Romanian translation by Celan’s friend Petre Solomon, it bore a completely different title: ‘Tangoul mortii’, meaning ‘Death Tango’ (KG, 607). In this connection, one might quote the poet himself, who once wrote that ‘Mein Gedicht “Todesfuge” … ist nicht “nach musikalischen Prinzipien komponiert”; vielmehr habe ich es, als dieses Gedicht da war, als nicht unberechtigt empfunden, es “Todesfuge” zu nennen’ [My poem ‘Todesfuge’ is not ‘composed according to musical principles’; rather I perceived it, once the poem was there, as not unjustified to call it ‘Todesfuge’] (KG, p.

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