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PL
This essay reflects on some applications of Eero Tarasti’s existential semiotics to music analysis, starting from the asymmetry that marks the categories of “myself’ and “itself’. If it seems evident that we can know the musical being-in-itself, that is topics, norms, forms, and so on, we can wonder if and how we can know the being-in-myself, that is the pure kinetic energy before that it has token any kind of forms. As it is for Schopenhauer’s “Wille”, that firstly becomes objective as Platonic ideas, and secondly as spatio-temporal-causal natural realm; musical energy or “being-in myself’ takes shape firstly as virtual deep-level-figures, and secondly as spatio-temporal-actorial situations, within which being-for-myself struggles with the being-for-itself. Modalities (will, must, can, know) operate in both these two levels of taking shape, but at the first level we have to look for a transcendental musical subject, not characterized by specific historical and cultural features. Then, I introduce the notion of homeostasis, that is the principle that “regulates the global process of breaking away from an original state of rest or balance, and of the subsequent restoration of that balance”. Homeostasis allows us to analyze musical modalization at a deep level, where the transcendental subject takes the form of the being-in-itself. But the research of a transcendental subject is slightly different to that of the Moi, within which the being-in-myself is situated. To analyze the being-in-myself of an individual musical subject, we adopt a less universal homeostasis, that is a specific way to convey musical energy (melodic, harmonic, rhythmic, agogic, and so on) proper of Western music. So doing, I claim that one cannot recognize the first four measures of Beethoven’s Piano Sonata op. 7 as “the moment of Being-in-myself in all of its immediacy” as Tarasti does. Being-in-myself has to be examined in a different light.
EN
The purpose of this paper is to offer a radical anti-mentalistic interpretation of Wittgensteinʼs Tractatus. Contrary to mentalistic approaches postulating that thetask of projection must be performed by a subject (transcendental or psychological), the author claims – after Rhees, Diamond and McGinn – that the projection itselfis an intrinsic relation within the symbol. The main point of the paper is the thesis that the transcendenal subjectivity – or, as Wittgenstein calls it, the metaphysical subject – is the inner pole of the symbol, and since the meaning of the symbol isitʼs other inner pole (as anti-realist interpretations point out), the whole intentionalrelation of symbolizing is intrinsic to the symbolism.
PL
Celem artykułu jest przedstawienie sformułowanej przez Stanisława Brzozowskiego koncepcji wartości jako próby wyjścia z kryzysu filozoficznego spowodowanego przez paradygmat pozytywistyczny i wynikający z niego światopogląd modernistyczny. Czerpiąc z dokonań Kanta i Fichtego, Brzozowski czyni wartość centralną kategorią swojej koncepcji. Przypisuje jej funkcje ontologiczne, a tym samym przedstawia wizję rzeczywistości alternatywną w stosunku do koncepcji pozytywistycznej, która zakłada redukowalność wartości do faktu. Jego tezy metafizyczne stanowią zarazem fundament, inspirowanej myślą Marksa, krytycznej teorii społecznej.
EN
The aim of the article is to present the concept of values (created by Brzozowski) as a way of recovering from a philosophic crisis caused by positivist paradigm and modernist world-view resulting from it. Brzozowski based his philosophy on Kant and Fichte philosophy and the central category of his concept is value. He assigns value ontological functions and presents his vision of reality, which is alternative to positivist approach. His metaphysical theses are groundwork for critical social theory inspired by Marx idea.
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