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The Sound of Subjectivity: On the Actuality of Hegel’s Music | ||
| مجله پژوهش های فلسفی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 06 دی 1404 | ||
| نوع مقاله: مقاله علمی- پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22034/jpiut.2025.70908.4385 | ||
| نویسنده | ||
| Frank Ruda* | ||
| University of Dundee | ||
| چکیده | ||
| This article examines Hegel’s philosophy of music as articulated in his lectures on aesthetics, positioning music as the “art of subjectivity” that fundamentally transforms our understanding of reality and being. For Hegel, art does not simply imitate reality but supplements it with truth through the productive medium of semblance or deception. Music, as a romantic art, obliterates spatial objectivity and immerses the listener in an ontology of vibration, movement, and inner trembling. It materializes through Ton—a speculative term encompassing sound, tone, and clay—which embodies the redoubled negation of stable being. Music dissolves objectivity, making audible the movement of subjectivity itself, and organizes disappearance through rhythm, harmony, and temporal interruption. By structuring time mathematically yet affectively, music creates gaps in natural duration, enabling an experience of self-relation and immanent subjectivity. Hegel contends that music is not contentless but expresses pure subjectivity’s inner movements, cultivating an inner sense and presenting the “breath of the soul.” Ultimately, music demonstrates how philosophy might think through dissolution, difference, and the becoming of the subject, offering a model for the creative undoing and reorganization of reality from within. | ||
| کلیدواژهها | ||
| Hegel؛ music؛ subjectivity؛ ontology؛ time | ||
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