Results found: 2

Search results

Search:
in the keywords: historicalness

Sort By:

Limit search:

Notatki z Folger

100%

Fish S.

Poznańskie Studia Polonistyczne. Seria Literacka

2009

issue 16

267-280

The text written by Stanley Fish, which is an excerpt from his book Professional Correctness. Literary Studies and Political Change (Oxford 1995), is an attempt at a presentation and a discussion of the main conditioning factors and the aporia of interpretation. From among the four arguments given by the author, i.e. intention, historicalness, politicalness and interdisciplinarity, only the first one has been established to be an immanent feature of each of interpretations. This results from the conviction that while interpreting literary texts we are always subjected to the pressure of the surrounding premises. It is just the extensive and thorough analysis of these premises, to which the supporters of political, historical and interdisciplinary criticism refer to that makes the author of the sketch possible to show that behind each of the methods there are individual interests and a different vision of the world. To realize these determinants is to enable us to question the very need of universal interpretation. By questioning the theoretical fundamentals of the three mentioned modes of interpretation, the author admits frankly that the work of an interpreter can have both historical, political and just as well interdisciplinary character, though this observation is by all means tantamount to a recognition of the legitimacy of any of the criticized methods.

Atonální hudba a nekonečná fragmentarita: Bloch a Schönberg

67%

Bierhanzl J.

Filosofický časopis (Philosophical Journal)

2021

vol. 69

issue 3

545-560

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.

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.

Refine search results

1 Filosofický časopis (Philosophical Journal)

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Bierhanzl J.

1 Fish S.

1 2021

1 2009

Search results

Notatki z Folger

Atonální hudba a nekonečná fragmentarita: Bloch a Schönberg