%0 Journal Article
%T The Sublime in Lutoslawski¡¯s Three Poems of Henri Michaux (1961-63)
%J -
%D 2019
%R http://dx.doi.org/10.13128/Aisthesis-25630
%X The sublime in classical aesthetics arrived at a famous formulation with Kant (CPJ, Part I, Section 1, Book 2, ¡ì23¨C29) as a subjective quality more elevated than beauty, linked to commotion and respect followed by reaffirmation. However, a new interpretation of the Schopenhauerian sublime is necessary in its transforming appreciation of the importance of this feeling as a psychological state, which is not yet metaphysical as usually understood, when dealing with struggling situations without resolution (Vandenabeele [2015]: 128). Here the focus will be on a variety of the sonorous sublime in contemporary music, which finds resonances with Schopenhauer¡¯s sublime: Witold Lutoslawski¡¯s Three Poems of Henri Michaux (1961¨C63) for mixed chorus and orchestra focuses on unpredictability and form-contrariness, ¡°picturing¡± surrealist texts of uncertainty in Pens¨¦es, violence in Le Grand Combat, and resignation in Repos dans Malheur (Michaux [1928], [1938])
%U http://www.fupress.net/index.php/aisthesis/article/view/25630