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Atonální hudba a nekonečná fragmentarita: Bloch a Schönberg

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Bierhanzl J.
Filosofický časopis (Philosophical Journal)
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2021
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vol. 69
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issue 3
545-560
EN
The concept of fragmentarity not only constitutes the central idea of Ernst Bloch’s philosophy of music, but also the whole of his aesthetics, even of his entire ontology – which can already be characterized as a Marxist ontology of creative, utopian imagination. In spite of the fact that the focus of his musical interest was chiefly classical, tonal music and that, unlike Adorno, he gave relatively little attention to atonal and dodecaphonic music, we would like to show that Schönberg’s atonal music occupied, by way of the problem of fragmentarity, a specific place in Bloch’s socio-utopian ontology. At the same time, we want to highlight problematic aspects of Bloch’s concept of fragmentarity. This concept is perhaps overly connected with the aesthetics of romanticism, and its use to describe new music is in this way limited. The last part of the text is then a corrective of this position using the thinking of Emmanuel Levinas, especially his aesthetics and some of his notes on the event nature of music. In fact, from the point of view of Levinas’ critique of ontology, Bloch’s fragmentarity too is overly connected with the idea of ​​totality, albeit only utopianly sketched. In the conclusion itself, we will then attempt to point out the possible combination of Bloch’s conception of new music as a fragment and Levinas’ event approach to music in the broader framework of the aesthetics of ambiguity.
CS
Pojem fragmentarity či fragmentárnosti netvoří jen ústřední pojem Blochovy filosofie hudby, nýbrž celé jeho estetiky, ba dokonce celé jeho ontologie – již lze charakterizovat jako marxistickou ontologii tvůrčí utopické imaginace. Navzdory tomu, že předmětem jeho hudebního zájmu byla zejména klasická, tonální hudba a že na rozdíl od Adorna atonální a dodekafonické hudbě věnoval poměrně malou pozornost, rádi bychom ukázali, že Schönbergova atonální hudba zaujímá, skrze problém fragmentárnosti, specifické místo v Blochově sociálně-utopické ontologii. Zároveň chceme upozornit na problematické aspekty Blochova pojmu fragmentarity. Tento pojem je totiž možná až příliš spjat s estetikou romantismu a jeho užití pro popis nové hudby je tímto limitované. Poslední část textu je potom korektivem této pozice s využitím myšlení Emmanuela Lévinase, zejména jeho estetiky a některých jeho poznámek o událostním charakteru hudby. Z hlediska Lévinasovy kritiky ontologie je totiž Blochova fragmentarita příliš spojená s představou totality, byť jen utopicky nastíněné. V samotném závěru se pak pokusíme poukázat na možné skloubení Blochovy koncepce nové hudby jako fragmentu a Lévinasova událostního přístupu k hudbě v širším rámci estetiky ambiguity.
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Ontologie a ideologie ženství : Levinas a feminismus

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Bierhanzl J.
Filosofický časopis (Philosophical Journal)
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2018
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vol. 66
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issue 2
285-298
EN
The concept of femininity plays a foundational role in Levinas’ conception of sociality throughout his work. Despite the various different forms that this concept assumes in Levinas’ ontology and ethics, we attempt to show, in agreement with several feminist interpreters, that in the background to this development one can perceive a certain ideological content which is fundamentally unchanging and which is not called into question, in a philosophically satisfactory way, in any of the author’s texts. The tension between the ideological and ontological content of the concept of femininity will ultimately be the key to a possible philosophical overcoming of this ideological content when Levinas’ thought is treated as a whole.
DE
Der Begriff der Weiblichkeit spielt in Levinas´ Auffassung der Sozialität innerhalb seines gesamten Werks eine wichtige Rolle. Trotz der verschiedenen Variationen, die dieser Begriff in Levinas´ Ontologie und Ethik erfährt, versuchen wir, zusammen mit bestimmten feministischen Interpretinnen aufzuzeigen, dass im Hintergrund dieser Entwicklung auch ein gewisser ideologischer Inhalt zu sehen ist, der sich im Grunde genommen nicht ändert und der in keinem der Texte dieses Autors philosophisch zufriedenstellend in Zweifel gezogen wird. Die Spannung zwischen dem ideologischen und dem ontologischen Inhalt des Begriffs der Weiblichkeit stellt schließlich den Ausgangspunkt für die Frage nach einer möglichen philosophischen Überwindung jenes ideologischen Inhalts dar, die sich auf Levinas´ Denken insgesamt bezieht.
3
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Pohladit, nebo podat ruku : Levinas a Merleau-Ponty o tělesném původu řeči

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Bierhanzl J.
Filosofický časopis (Philosophical Journal)
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2011
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vol. 59
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issue 7, Special No: Fenomenologie tělesnosti
157-166
EN
The aim of the present paper is to exemplify the diachronic structure of Speech through the interpretation of Levinas’ claim according to which the Speech precedes the Spoken. On the basis of comparison between the primordiality of the Speech and Merleau-Ponty’s gestual meaning which precedes the conceptual meaning, we will point out the correspondence – within the frame of the ethical signifiance – between the diachrony of Speech and the origin of language in corporeality. We shall conclude by reflexion of the problem of articulation between Speech as a modality of ethical signifiance and between Levinas’ philosophical discourse itself, which remains a modality of the Spoken despite its reflexion on the Speech.
4
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Slabé jednání : Činit rozhodnutí a jednat po Levinasovi

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Bierhanzl J.
Filosofický časopis (Philosophical Journal)
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2014
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vol. 62
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issue 2, Special No: Za hranicemi tváře. Levinas a socialita
71-81
EN
Our article focuses on the late philosophy of Levinas, which can be characterized as an ethics of radical passivity, and on its limits (especially in the relationship between ethics/society). The aim is not, however, to overcome the dichotomy of passiv-ity/activity as other phenomenological authors attempt to do, but to deepen this differentiation to such an abysmal level that any sort of philosophy of action is eliminated from this late project of the ethics of passivity. Such a thorough separation of the ethics of responsibility from the entirety of the philosophy of action, one of the main aspects of Levinas’s late works, also has its limitations in Levinas’s thought itself. These limitations are associated with the entrance of the so-called “third party” into the sphere of the infinite responsibility for the Other. We attempt to interpret this contradiction of infinite ethics and finite Justice with the help of Foucault’s concepts of decisions, division, and exclusion.
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