Preliminary clue

Isaiah Berlin’s seminal Two Concepts of Liberty (1958) acts as a touchstone, as the essay establishes the historical and political grounds for uniting the [philosophy of freedom and history of art]

What’s that you ask, “Do they serve fry chicken at the art gallery?” No, I’m sorry, you will not find your coon redemption sacrament there.

Eh I’m scrapping this first one I found. I expect it will be difficult to beat that Rembrandt chapter I was drawing from.


 Irony, Satire, Parody and the Grotesque in the Music of Shostakovich

That’s a book. I never would’ve expected any of that from listening to him. Googling “political philosophy and painting” yields some interesting results.

Here’s another study on him that might be related

explores how Shostakovich’s music took shape under Stalin’s reign of terror, and how it gave form to the hopes of an oppressed people.

People who can describe their experience of him into words have some real talent.

Now that I read that book title and listen to him again!! I can’t believe this…

We could use a parody of Stalinism in our own time in this form, wouldn’t you say?

So strange to see this in a book on such an artist

Of major importance are those works that fully acknowledge the problems of living under a repressive regime

This specialist says most that has been written on him has been biographical. It’s similar to paintings for me, like what can you say about it? Well this study is 400 pages so.

He avoided the gulag from being so ambiguous? That’s my first thought.

This is crazy

the probable presence of ‘forbidden’ messages that were allegedly concealed

Does he subtly mock the secret police, say? “We can’t prove it!!”

I know the American version of Stalinists visit this site. Hey, what’s up? Fuck you.

Rule of the subhuman. YOU! A waxed baboon in perfume! I’ll throw you out of a window.

Anyway, I always thought parts of Shostakovich were histrionic, and now I’m realizing they might have been purposely exaggerated as parody

His soul speaks. He is a clown (in the good way). Who would have guessed? I can’t believe this clown fooled me like this.

This could be a groundbreaking crossover to bring Strauss into this. Unfortunately I don’t know much about esotericism in music. This study is a good start though.

I only know about irony in other forms.

Listen to Shostakovich again, I promise you will pick this out now

All the above kinds of incongruities can furnish either solvable or unresolvable ambiguities. The result depends on the final balance between the various correlations that function in each particular case. The simpler cases usually end up with a satirical message, which can range from a simple caricaturing burlesque to a conveyance of the hopeless human situation, pointing to ‘human existential dread’. The more complex, multi-layered correlations will tend to stimulate interpretations of general, ‘romantic’ irony: a situation in which incongruities will not be solved, but just presented as a phenomenon to an allegedly objective, but actually self-reflexive, spectator. This kind of pluri-vocal discourse develops through self-reflexivity, and is often correlated with the self-awareness of human existence.

This study is great so far.

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