tailieunhanh - THE REINVENTION OF GENIUS WAGNER'S TRANSFORMATION OF SCHOPENHAUER'S AESTHETICS IN “BEETHOVEN”

The work on automaticity also represents a significant foray into the realm beyond rationality and control. The work by Bargh and his col- leagues emerges from a “dual-process” perspective that appreciates both the conscious and non-conscious information-processing aspects of expe- rience (., Bargh & Chartrand, 1999; Bargh & Ferguson, 2000). Bargh’s research has provided compelling evidence that goal-directed activity, judgment of others, self-regulation, and expert performance—processes thought to exemplify our cognitive/rational nature—are much less under our conscious control than we. | Postgraduate Journal of Aesthetics Vol. 4 August 2007 The Reinvention Of Genius Wagner s transformation of Schopenhauer s aesthetics IN Beethoven Menno Boogaard Leiden university I. Introduction Wagner s treatise Beethoven 1870 written to celebrate the centenary of Beethoven s birth is one of his most influential theoretical works. its influence on Nietzsche s Birth of Tragedy is well known and Gustav Mahler regarded it as one of the most profound writings on music he knew on a par with Schopenhauer s theory on the subject. Wagner s main concern in this text is to bring his theory of opera into line with his recent conversion to Schopenhauer s philosophy. It contains an account of the relation of music and drama which emphasizes the superiority and dominance of music true to the philosopher s ideas on this subject. This aspect of Beethoven is in fact the main focus of most commentaries devoted to this Such commentaries often give the general impression that Wagner leaves Schopenhauer s philosophy largely intact merely adapting his own ideas to make them fit those of his new In this paper I want to challenge this assumption. I will try to show that on the contrary Wagner introduces dramatic changes to Schopenhauer s aesthetic doctrine changes that together amount to a substantial transformation of the philosopher s thought. To illustrate this I will concentrate on the 1 See Stein 1960 p 157-165 for a good example of this approach. Also Bruse 1984 Borchmeyer 1982 Dinger 1892 . 2 This is particularly noticeable in Magee 2000 p. 229-300. Menno Boogaard following aspects of Wagner s text the relation of music and self-consciousness the question of the position of the musical genius and Wagner s categorization of music as the art of the sublime . II. Schopenhauer s Aesthetics A main feature of Schopenhauer s aesthetic doctrine is the idea that artistic experience represents a mode of knowledge that is fundamentally exceptional. Schopenhauer holds .

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