numero monografico: "Theodor W. Adorno (1903 - 2003) L'estetica. L'etica", a cura di Elio Matassi e Elena Tavani, Donzelli Editore, Roma 2005 Relazione svolta il 17 ottobre 2003 al ‘Goethe-Institute’di Roma, nell’ambito del Convegno Internazionale di Studi ‘Theodor W. Adorno 1903 -2003’, Roma 16-18 ottobre 2003
In an imaginary dialogue with Adorno, the author faces the problem of the relationship between music and language. The thematic nucleus of Adorno’s essay Musik und Sprache is: inspite of the similarity with language music is not language. InthisessaythephilosophertriedtoapplythetheoriesofW.Benjaminonlanguage – with theological mark – to music. This attempt left many unsolved problems, considering the temporal character of music. These problems con be solved only by strictly following Benjamin’s point of view. However, according to the author, Adorno is capable of proposing in an authentic manner the problem of the possibility of translating music in something that is not music, but his theory has its flaws: to conceive music as a “perfect” or “edenic language”. To avoid the difficulties this theory may cause, the author proposes to conceive music as a vital attempt to attain an impossible perfection.
Guanti, G. (2005). Mimica musicale (e mimetica filosofica) in Th. W. Adorno. CULTURA TEDESCA, 26 (agosto 2004), 237-248.
Mimica musicale (e mimetica filosofica) in Th. W. Adorno
GUANTI, GIOVANNI
2005-01-01
Abstract
In an imaginary dialogue with Adorno, the author faces the problem of the relationship between music and language. The thematic nucleus of Adorno’s essay Musik und Sprache is: inspite of the similarity with language music is not language. InthisessaythephilosophertriedtoapplythetheoriesofW.Benjaminonlanguage – with theological mark – to music. This attempt left many unsolved problems, considering the temporal character of music. These problems con be solved only by strictly following Benjamin’s point of view. However, according to the author, Adorno is capable of proposing in an authentic manner the problem of the possibility of translating music in something that is not music, but his theory has its flaws: to conceive music as a “perfect” or “edenic language”. To avoid the difficulties this theory may cause, the author proposes to conceive music as a vital attempt to attain an impossible perfection.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
