Espacialización revisitada: caracterización y contradicciones del tipo extensivo en Theodor W. Adorno.
As Adorno’s posthumous writings were released, a notable turn in his philosophy of music became noteworthy: by revealing an ambitious project on Beethoven, a quasi-axiomatic theory of musical time emerged, which seems to guide Adornian thought at very significant works and texts, as Philosophy of Ne...
| Publicado en: | Revista Estudios de Filosofía no. 68; pp. 45 - 62 |
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| Formato: | Artículo |
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Universidad de Antioquia, Instituto de Filosofia
jul-dic2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=165554729&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 165554729 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01213628 8WTD jtl: Revista Estudios de Filosofía issn: 01213628 maglogo: N pubinfo: dt: jul-dic2023 iid: 68 pid: 62552 pub: Universidad de Antioquia, Instituto de Filosofia artinfo: ui: 165554729 10.17533/udea.ef.352183 ppf: 45 ppct: 17 formats: fmt: @attributes: type: P size: 1.7MB tig: atl: Espacialización revisitada: caracterización y contradicciones del tipo extensivo en Theodor W. Adorno. aug: au: Paulo Andrade, João affil: 1 Universidade Estadual de Campinas (Unicamp), Campinas, Brasil. su: Posthumous works of literature Tempo (Music theory) Musical aesthetics Beethoven, Ludwig van, 1770-1827 Music Music theory Ontology Philosophy Hegel, Georg Wilhelm Friedrich, 1770-1831 Possibility Contradiction Modal logic sug: subj: Posthumous works of literature Tempo (Music theory) Musical aesthetics Beethoven, Ludwig van, 1770-1827 Music Music theory Ontology Philosophy Hegel, Georg Wilhelm Friedrich, 1770-1831 Possibility Contradiction Modal logic keyword: extensive type musical time spacialization Beethoven espacialización extensive type musical time spacialization Theodor W. Adorno tiempo musical tipo extensivo ab: As Adorno’s posthumous writings were released, a notable turn in his philosophy of music became noteworthy: by revealing an ambitious project on Beethoven, a quasi-axiomatic theory of musical time emerged, which seems to guide Adornian thought at very significant works and texts, as Philosophy of New Music. Sketched in three configuration types of musical time, this theory surprises with the so-called “extensive type”. Adorno would then admit kinds of formal consistency (Stimmigkeit) that are not restricted to the ideal of development (Entwicklung) and assumes the possibility of a non-regressive spatialization, which contrasts with his own ontological definition of the medium. This paper discusses the contradictions of extensive type by presenting an analysis of the Archduke Trio op. 97, in the light of the well-known originary affinity between Beethoven and Hegel. At last, the text presents by which means and for what reasons the extensive type would lead Adorno to the last and most decisive modality of musical time’s configuration, the late style. La publicación de los escritos póstumos de Theodor W. Adorno provocó un giro notable en su filosofía de la música: al revelarse el ambicioso proyecto sobre Beethoven, surgió una teoría del tiempo musical de carácter casi axiomático, y que parece incluso orientar la reflexión adorniana en obras y textos importantes, tales como Filosofía de la nueva música. Esbozada en tres tipos de configuración del tiempo musical, esa teoría sorprende al tratar el denominado “tipo extensivo”. Adorno pasaría entonces a admitir modos de consistencia formal (Stimmigkeit) que no se restringen al llamado ideal de desarrollo (Entwicklung), asumiendo la posibilidad de una espacialización no regresiva que contrastaría con su propia definición ontológica del medio. El presente artículo aborda las contradicciones del tipo extensivo, ofreciendo un análisis pormenorizado del Trío al Archiduque op. 97 ante el conocido parentesco originario entre Beethoven y Hegel. Finalmente, el texto presenta los medios y motivos por los cuales el tipo extensivo conduciría a la última y más decisiva modalidad de configuración del tiempo musical en Adorno, el estilo tardío. pubtype: Academic Journal doctype: Article src: R language: Spanish refInfo: copyright: @attributes: flag: Y custom: Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Revista Estudios de Filosofía holder: Universidad de Antioquia, Instituto de Filosofia dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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