The Philosopher’s Touch: Sartre, Nietzsche, and Barthes at the Piano (European Perspectives: A Series in Social Thought and Cultural Criticism)

Renowned philosopher and prominent French critic François Noudelmann engages the musicality of Jean-Paul Sartre, Friedrich Nietzsche, and Roland Barthes, all of whom were amateur piano players and acute lovers of the medium. Though piano playing was a crucial art for these thinkers, their musings on the subject are largely scant, implicit, or discordant with each philosopher's oeuvre. Noudelmann both recovers and integrates these perspectives, showing that the manner in which these philosophers played, the composers they adored, and the music they chose reveals uncommon insight into their thinking styles and patterns. Noudelmann positions the physical and theoretical practice of music as a dimension underpinning and resonating with Sartre's, Nietzsche's, and Barthes's unique philosophical outlook. By reading their thought against their music, he introduces new critical formulations and reorients their trajectories, adding invaluable richness to these philosophers' lived and embodied experiences. The result heightens the multiple registers of being and the relationship between philosophy and the senses that informed so much of their work. A careful reader of music, Noudelmann maintains an elegant command of the texts under his gaze and appreciates the discursive points of musical and philosophical scholarship they involve, especially with regard to recent research and cutting-edge critique. Columbia University Press O Chonghui is an immensely accomplished author, having won both the Yi Sang and Tongin awards, Korea's most prestigious prizes for fiction. Translations of her works into Japanese, English, French, and other languages have earned her international acclaim, generating comparisons with Joyce Carol Oates, Alice Munro, and Virginia Woolf. O Chonghui crafts historically-rooted yet timeless tales imagining core human experiences from a female point of view. Together with Pak Wanso (Park Wan-suh), she formed a powerful challenge to the conservative literary establishment in Korea, becoming one of the most astute observers of its society and the place of tradition within it. These nine stories range from O's first published work in 1968 to one of her last publications in 1994. Her early stories are compact, often chilling accounts of family dysfunction, reflecting the decline of traditional, agrarian economics and the rise of urban, industrial living. Later stories are more expansive, weaving eloquent, occasionally wistful reflections on lost love and tradition together with provocative explorations of sexuality and gender. O makes use of flashbacks, interior monologues, and stream-of-consciousness in her narratives, developing themes of abandonment and loneliness in a carefully cultivated, dispassionate tone. Her nameless narrators stand in for the average individual, struggling to cope with emotional rootlessness and a yearning for permanence in family and society. Arguably the first female Korean fiction writer to follow Virginia Woolf's dictum to do away with the egoless, self-sacrificing "angel in the house," O Chonghui is a crucial figure in the history of modern Korean literature, on par with Kim Sowol, Hwang Sunwon, and Yi T'aejun.

O Chonghui crafts historically-rooted yet timeless tales imagining core human experiences from a female point of view. Since her debut in 1968, she has formed a powerful challenge to the patriarchal literary establishment in Korea, and her work has invited rich comparisons with the achievements of Joyce Carol Oates, Alice Munro, and Virginia Woolf.

These nine stories range from O Chonghui's first published work, in 1968, to one of her last publications, in 1994. Her early stories are compact, often chilling accounts of family dysfunction, reflecting the decline of traditional, agrarian economics and the rise of urban, industrial living. Later stories are more expansive, weaving eloquent, occasionally wistful reflections on lost love and tradition together with provocative explorations of sexuality and gender. O Chonghui makes use of flashbacks, interior monologues, and stream-of-consciousness in her narratives, developing themes of abandonment and loneliness in a carefully cultivated, dispassionate tone.

O Chonghui's narrators stand in for the average individual, struggling to cope with emotional rootlessness and a yearning for permanence in family and society. Arguably the first female Korean fiction writer to follow Woolf's dictum to do away with the egoless, self-sacrificing "angel in the house," O Chonghui is a crucial figure in the history of modern Korean literature, one of the most astute observers of Korean society and the place of tradition within it.

Columbia University Press

Music is a significant object of reflection for contemporary philosophers, yet little has been written on the interplay of music and thought. François Noudelmann critically engages the musicality of Barthes, Sartre and Nietzsche, all of whom were amateur piano players, giving an insightful reading of their work in light of their music. The practice of playing the piano was crucial to these philosphers, but their writing on the topic was scant, implicit, or in discordance with their philosophical oeuvre. Noudelmann reveals how the manner in which they played, the composers they explicitly and secretly adored, and the music they chose to write about is telling of these philosophers' writing styles and thinking patterns. Noudelmann invites us to imagine the physical and theoretical practice of music as a dimension underpinning and resonating with their philosophical work proper. He thus unearths new perspectives on the philosophical trajectories of the three. Noudelmann has an elegant command of the texts under study, and understands the discursive points and concerns of philosophical and musical theorists of recent decades. He also brings to the work of Barthes, Sartre, and Nietzsche a sense of lived, embodied experience, raising the question of the relationship between philosophy and the senses, a philosopher's life and thought Focuses on how three major philosophers, Jean-Paul Satre, Friedrich Nietzsche, and Roland Barthes, all played the piano and describes how the piano played an instrumental role in each person's life Contents 6 1 Intuition 10 2 The Off -Beat Piano 16 3 Why I Am a Great Pianist 58 4 The Piano Touches Me 104 5 Resonances 154 Acknowledgments 166 Index 170 The toyshop woman One spring day A portrait of magnolias River of fire Morning star Fireworks Lake P'aro The release The old well.