Why has humankind developed so differently from other animals? How and why did language, culture, religion, and the arts come into being? In this wide-ranging and ambitious essay, Christoph Türcke offers a new answer to these timeworn questions by scrutinizing the phenomenon of the dream, using it as a psychic fossil connecting us with our Stone Age ancestors. Provocatively, he argues that both civilization and mental processes are the results of a compulsion to repeat early traumas, one to which hallucination, (...) imagination, mind, spirit, and God all developed in response. Until the beginning of the modern era, repetition was synonymous with de-escalation and calming down. Then, automatic machinery gave rise to a new type of repetition, whose effects are permanent alarm and distraction. The new global forces of distraction, Türcke argues, are producing a specific kind of stress that breaks down the barriers between dreams and waking consciousness. Türcke’s essay ends with a sobering indictment of this psychic deregulation and the social and economic deregulations that have accompanied it. (shrink)

Theodor W. Adorno, one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half (...) of the essays appear in English for the first time; all of the essays are fully annotated; and the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought. (shrink)

Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. _Music in German Philosophy_ includes contributions from a renowned group of ten scholars, (...) including some of today’s most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music. The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and foreword to this English-language addition, which places contemplations on music by these German philosophers within a broader intellectual climate. (shrink)