Programming Mahler: Meaning, Redescription, and the Post-Adornian Counterlife
Barham, JM (2011) Programming Mahler: Meaning, Redescription, and the Post-Adornian Counterlife Nineteenth-Century Music Review, 8 (2). 255 - 271. ISSN 1479-4098
Available under License : See the attached licence file.
Official URL: http://dx.doi.org/10.1017/S1479409811000280
In this article Adorno’s approach to Mahler is subjected to linguistic-conceptual critique, in order to highlight its ambiguous philosophical and methodological syncretizing of discourses of epistemological commensurability and hermeneutic incommensurability. As a response to this and to Adorno’s privileging of authorial production as determinant of meaning, this study invokes Richard Rorty’s pragmatist philosophy and aspects of translation theory in order better to understand the world of post-Adornian Mahlerian meaning generated by use of the music in diverse screen works over the last half century. Examples of the ‘re-description’ of Mahler’s music resulting from such usage are discussed in relation to the tradition spawned by Visconti’s Death in Venice and in various contexts of appropriation, fragmentation and juxtaposition through which radical re-configurations of putative meaning take place.
|Additional Information:||This is an electronic version of an article published as Barham JM (2011). Programming Mahler: Meaning, Redescription, and the Post-Adornian Counterlife. Nineteenth-Century Music Review 8(2):255-271. Available online at: http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=8439936|
|Uncontrolled Keywords:||Adorno, Mahler, Screen, Rorty, Redescription, Translation|
|Divisions:||Faculty of Arts and Human Sciences > School of Arts > Music|
|Deposited By:||Symplectic Elements|
|Deposited On:||27 Jun 2012 12:11|
|Last Modified:||01 Apr 2013 14:44|
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