The present study tries to work out a possible nexus between Hermann Cohen's theory of music and messianism (in his "Aesthetics of pure Feeling" , 1912, and in other works) and Walter Benjamin's philosophy of music, as initially developed in the two early essays "Trauerspiel and Tragedy"(1916) and "The Meaning of Language in Trauerspiel and Tragedy" (1916), and in "Goethe's Elective Affinities" (1922). A central theme in these essays is music and its relation to a Jewish-Messianic conception of nature, language and history, and music as a vehicle of redemption through the lament (Klage) of the creature (man and nature).
Tagliacozzo, T. (2016). "Bildloses Hören“: Messianismus und Musik bei Hermann Cohen und Walter Benjamin. ZEITSCHRIFT FUER RELIGIONS- UND GEISTESGESCHICHTE, 68(2), 119-135 [10.1163/15700739-90000220].
"Bildloses Hören“: Messianismus und Musik bei Hermann Cohen und Walter Benjamin
TAGLIACOZZO, Tamara
Writing – Original Draft Preparation
2016-01-01
Abstract
The present study tries to work out a possible nexus between Hermann Cohen's theory of music and messianism (in his "Aesthetics of pure Feeling" , 1912, and in other works) and Walter Benjamin's philosophy of music, as initially developed in the two early essays "Trauerspiel and Tragedy"(1916) and "The Meaning of Language in Trauerspiel and Tragedy" (1916), and in "Goethe's Elective Affinities" (1922). A central theme in these essays is music and its relation to a Jewish-Messianic conception of nature, language and history, and music as a vehicle of redemption through the lament (Klage) of the creature (man and nature).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
