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Index
Cover
Half title
Series Page
Title
Copyright
Dedication
Epigraph
Contents
A Note on Translations and Abbreviations
Hors d’œuvre I
Introduction: The Subject of Music and Madness
1. Hearing Voices
Sirens at the Palais Royal
Between the Infinite and the Infinitesimal
Excursus: The Howl of Marsyas
Socratic Energy
2. Unequal Song
Music and the Irrational
Mimesis: Cratylus and the Origin of Language
Identity and Difference
Crisis at the Café de la Régence
Satire, Inequality, and the Individual
3. Resounding Sense
A Break in the Grand Confinement
The Emergence of the Mad Musician
Empfindsamkeit
Hegel’s Reading of Le neveu
Sentiment de l’existence
4. The Most Violent of the Arts
The Musical Sublime in Longinus and Burke
Kant’s Abdication
Community and Herder’s Conception of Music
Wackenroder’s Berglinger Novella
5. With Arts Unknown Before: Kleist and the Power of Music
Music, Reflection, and Immediacy in Kleist’s Letters
Die Heilige Cäcilie oder die Gewalt der Musik
Self-Representation
6. Before and After Language: Hoffmann
The Designative and Disclosive Functions of Language: Kreisleriana
The Uses of Form
Emptying Out Into Form: Julia Mark and the “Berganza” Dialogue
Euphony and Discord: “Ritter Gluck”
Postscriptum: “Rat Krespel”
Praescriptum: Kater Murr
Hors d’œuvre II
Notes
Bibliography
Index
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