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RAINER MARIA RILKE’S POETRY IN THE INTERPRETATION OF GUNTHER ANDERS AND HANNAH ARENDT AND THE CRISIS OF FUNDAMENTAL ONTOLOGY

Abstract
The article examines the ontological problems posed in the work of G. Anders and H. Arendt “The Duin Elegies of Rilke”, which is considered in the context of the evolution of M. Heidegger’s philosophical ideas. In the 30s of the twentieth century, Heidegger’s philosophy underwent a significant shift associated with the transition from the construction of a phenomenologically and anthropologically oriented ontology to the thinking of being, which proceeds from its original openness and follows the guiding thread of language. The interest that the text of Anders and Arendt presents in this regard is that it can also be seen as a statement of the unproductiveness of the phenomenological method of posing and solving ontological problems, the rejection of attempts to reveal the meaning of being based on explication of the structure of human existence, and the shift of emphasis to comprehension of the essence of language and interpretation of poetic speech. In the work under study by Anders and Arendt, two plans of philosophical analysis of Rilke’s poetic text are revealed: first, arguments about poetic thinking as a way of revealing artistic and philosophical truth, and, secondly, a meaningful interpretation of the ideas that are articulated in this poetry. It is noted that Anders and Arendt’s appeal to the poetry of R. M. Rilke and the turn in Heidegger’s thinking could be dictated by similar motives: the search for promising ways to overcome the emerging crisis of the fundamental ontological program. Moreover, as a result of the research, it is suggested that the work of Anders and Arendt, published in 1930, to a certain extent outstrips and anticipates the future direction of Heidegger’s reflections, and in shifting the focus of his research interest in language and poetic creativity are realized the interpretative possibilities that were outlined by Anders and Arendt.

Keywords
ontology, Rilke, Anders, Arendt, Heidegger, overcoming metaphysics, language, poetry.

References

• Agamben, G. (2012). The Open: Man and Animal. Rus. Ed. Moscow: Rossiiskii gosudarstvennyi gumanitarnyi universitet Publ. (In Russian)
• Arendt, H. (2013). The Life of the Mind. Rus. Ed. St. Petersburg: Nauka Publ. (In Russian)
• Arendt, H., & Heidegger, M. (2016). Letters: 1925–1975. Rus. Ed. Moscow: Izdatel’stvo instituta Gaidara Publ. (In Russian)
• Arendt, H., & Stern [Anders], G. (2016). Rilkes Duineser Elegien. In Schreib doch mal hard facts über Dich. Briefe 1939 bis 1975. Texte und Dokumente (105–127). München: C. H. Beck.
• Heidegger, M. (1985). Die Sprache. In Unterwegs zur Sprache (GA 12) (7–30). Frankfurt am Main: Vittorio Klostermann.
• Heidegger, M. (1991a). Country Path Conversations. Rus. Ed. Moscow: Vysshaia shkola Publ. (In Russian)
• Heidegger, M. (1991b). The End of Metaphysics. In Filosofiia Martina Khaideggera i sovremennost’ (214–232). Rus. Ed. Moscow: Nauka Publ. (In Russian)
• Heidegger, M. (1993a). Dialog on Language. In Vremia i bytie (273–302). Rus. Ed. Moscow: Respublika Publ. (In Russian)
• Heidegger, M. (1993b). Letter on ‘Humanism’. In Vremia i bytie (192–220). Rus. Ed. Moscow: Respublika Publ. (In Russian)
• Heidegger, M. (1993c). The Way to Language. In Vremia i bytie (259–273). Rus. Ed. Moscow: Respublika Publ. (In Russian)
• Heidegger, M. (1993d). Time and Being. In Vremia i bytie (391–406). Rus. Ed. Moscow: Respublika Publ. (In Russian)
• Heidegger, M. (1993e). Words. In Vremia i bytie (302–312). Rus. Ed. Moscow: Respublika Publ. (In Russian)
• Heidegger, M. (1997a). Being and Time. Rus. Ed. Moscow: Ad Marginem Publ. (In Russian)
• Heidegger, M. (1997b). Kant and the Problem of Metaphysics. Rus. Ed. Moscow: Russkoe fenomenologicheskoe obshchestvo Publ. (In Russian)
• Heidegger, M. (2003). Elucidations of Hölderlin’s Poetry. Rus. Ed. St. Petersburg: Akademicheskii proekt Publ. (In Russian)
• Heidegger, M. (2009). Parmenides. Rus. Ed. St. Petersburg: Vladimir Dal’ Publ. (In Russian)
• Heidegger, M. (2013). The Fundamental Concepts of Metaphysics: World, Finitude, Solitude. Rus. Ed. St. Petersburg: Vladimir Dal’ Publ. (In Russian)
• Koval, O. A., & Kriukova, E. B. (2019). Gottfried Benn and Martin Heidegger on the Essence of Poetry. The Story of a Might-Have-Been Meeting. Studia Litterarum, 4 (3), 28–49. (In Russian)
• Koval, O. A., & Kriukova, E. B. (2020). “Todtnauberg” by Paul Celan: An Attempt of a Talk Between Philosophy and Poetry. Vestnik Tomskogo gosudarstvennogo universiteta. Filologiia, 64, 196–219. (In Russian)
• Patkul, A. B. (2020). The Crisis of the Program for Building a Scientific Ontology and the Issue of “Turn” in the Philosophy of Martin Heidegger. Vestnik RGGU. Seriia “Filosofiia. Sotsiologiia. Iskusstvovedenie”, 1, 12–25. (In Russian)
• Rilke, R. M. (1963). Werke. Auswahl in drei Bänden. Erster Band, Gedichte. Leipzig: Insel Verlag.

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TO LOSE THE MEANING OF MUSICALITY. WHAT IS THE PLACE OF MUSIC IN A WORLD SATURATED WITH AUDIO RECORDINGS?

Abstract
“Listening to music” and “listening to sound recordings” have become perfectly synonymous in our society. The aim of this paper is to question the legitimacy of this supposed equivalence, which almost all listeners have taken for granted. Our sonic universe is saturated with recorded sounds: what space does it leave to music? What reasons could justify a radical distinction, or even opposition, between the exposure to recorded sounds and musical activity in the strict sense of the word? According to tried and tested phenomenological method, through conscious attention to what appears, we return “to the matters themselves”: namely, the conditions under which sonorities can become music. After a first, introductive part reflecting the exceptional marginality of recording in mankind’s musical history, the second part of the study sketches a phenomenological description of a genuine musical process; the final part examines the consequences of sound registration with regard to such a process and to various aspects of music making and listening to music. It is thereby shown that recordings are by no means a vector of democratizing musical culture.

Keywords
acoustics, archaeo-acoustics, musical coherence, phonofixation, musical process, listening regression, musical univocity, tempo.

References

• Adorno, T. W. (2003). Über den Fetischcharakter in der Musik und die Regression des Hörens. In Gesammelte Schriften, vol. 14 (14–50). Frankfurt am Main: Suhrkamp.
• Amblard, J. (2021). Les musiques obligatoires. Le Griii, 4, 19–28.
• Arbo, A. (2014). Qu’est-ce qu’un enregistrement musical(ement) véridique ? In P.-H. Frangne & H. Lacombe (Eds.), Musique et enregistrement (173–192). Rennes: PUR.
• Attali, J. (2001). Bruits. Essai sur l’économie politique de la musique. Paris: Fayard et PUF.
• Benjamin, W. (2000). L’œuvre d’art à l’époque de sa reproductibilité technique. In Œuvres III (269–316). Paris: Gallimard.
• Bogoya Gonzáles, C. (2011). Pascal Quignard : musique et poétique de la défaillance (Doctoral Thesis). Université Sorbonne Nouvelle Paris 3, Paris.
• Celibidache, S. (2012). Sur la phénoménologie de la musique. In La musique n’est rien (35–80). Arles: Actes Sud.
• Chion, M. (2017). L’art des sons fixés (3d ed.). Fontaine: Metamkine/Sono Concept. Retrieved from https://pdfcoffee.com/michel-chion-la-musique-concrete-acousmatique-un-art-des-sons-fixes-pdf-free.html.
• Chion, M. (2002). Le son (2d éd.) Paris: Nathan.
• Dauvois, M. (2005). Homo musicus palæolithicus et Palæoacustica. Munibe (Anthropologia-Arkeologia) , 57, 225–241.
• Dillard, L. K., Arunda, M. O., Lopez-Perez, L., Martinez, R., Jimenez, L., Chadha, S. (2022). Prevalence and Global Estimates of Unsafe Listening Practices in Adolescents and Young Adults: a Systematic Review and Meta-analysis. BMJ Global Health, 7, e010501. https://doi.org/10.1136/bmjgh-2022-01050.
• Lang, P. (2008). Introduction à la phénoménologie du vécu musical. Annales de phénoménologie, 7, 47–76.
• Lang, P. (2010). Cohérence et continuité musicales : une approche phénoménologique. In V. Alexandre Journeau (Ed.), Arts, langue et cohérence (123–140). Paris: L’Harmattan.
• Lang, P. (2014). Pulsation, mètre, période. Phénoménologie du vécu musical 2. Annales de phénoménologie, 13, 211–243.
• Lephay, P.-E. (2014). La prise de son et le mixage, éléments de l’interprétation : les exemples de Herbert von Karajan et [de] Glenn Gould. In P.-H. Frangne & H. Lacombe (Eds.), Musique et enregistrement (113–122). Rennes: PUR.
• Pouivet, R. (2010). Philosophie du rock. Paris: PUF.
• Stravinsky, I. (2000). Chroniques de ma vie. Paris: Denoël.

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PHENOMENOLOGICAL ANALYSIS OF MUSICAL MEANING ON THE MATERIAL OF ROCK MUSIC

Abstract
The article deals with the phenomenological analysis of music perception on the material of rock songs. The structure of a song is simpler than the structure of a classical piece of music, but all the results are valid for any music with appropriate complication. “Listening device”—a computer program that translates sounds into musical notation - perceives individual sounds. But the musical consciousness understands the specific musical thought. It groups sounds into motifs and phrases. F. Tagg introduces the concept of “museme”—a unit of musical meaning. Musemes have meaning only for the understanding consciousness. Musemes of different levels include motifs and phrases, metric signature, rhythm, and the structure of the whole work. In a melody there may be “key sites” in which the concentration of musical thought is maximized. They are constituted by musical consciousness and are largely subjective. The understanding of a musical work takes place in time, and this allows the consciousness to mark out a segment of time, to arrange the intelligible structure in it. A melody is a meaningful whole that has its own logic of unfolding. It encompasses a segment of time and transforms it into something stationary. Melody can be represented in the form of a scheme. The subject of music is the compression of time into such structures. An interesting example of musical perception is psychedelic rock. When listening to psychedelic music, the constitutive activity of consciousness is reduced and an altered state of consciousness occurs. The horizon of meaning narrows, the protention disappears. Here we should recall the notion of “saturated phenomenon” introduced by J.-L. Marion. The saturated phenomenon does not allow for constitution and assimilation. Psychedelic music modifies the horizons of future meanings. The article concludes with a question about computer music: will it make sense to us? So far there is no unequivocal answer to this question.

Keywords
music, rock music, phenomenology of music, constitution of meaning, museme, key sites of melody, psychedelic rock, saturated phenomenon.

References

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PHENOMENOLOGICAL ASPECTS OF GERNOT BÖHME’S AESTHETICS OF ATMOSPHERES

Abstract
This article examines the phenomenon of atmosphere in the aesthetics of the German philosopher Gernot Böhme. It explores the connection between his ideas and those of Hermann Schmitz’s “New Phenomenology” and Martin Heidegger’s ontology. The atmosphere is analyzed through Schmitz’s concepts: the space of human corporeality, and the categories of “contraction” (Enge) and “expansion” (Weite)). Key points of Schmitz’s phenomenology are identified: the absolute space of the felt body, its independence from geometric space; the description of the body's dynamics through bodily impulses and vectors of “contraction” (Enge) and “expansion” (Weite)); the critique of the internal arrangement of feelings; the understanding of feelings and atmospheres as external “forces.” Böhme illustrates illustrated this concepts using the example of the sublime atmosphere in the temple space. Through light and shadow, silence and lines, the atmosphere of the sublime is created. It captivates, astonishes, and directs human corporeality towards spaciousness, providing a perception of the dynamics of human corporeality. Böhme’s description of the atmosphere includes the problem of the subject perceiving the atmosphere. The phenomenon of atmosphere is understood based on the concepts of mood and disposition of a person, derived from Martin Heidegger’s concept of Dasein. Mood is revealed in two ways: as the attunement, the tonality of a person’s own place, and as the tonality of the places in which they reside. It is concluded that perceiving the atmosphere means perceiving the mutual attunement between a person and the world. The final point is the analysis of the concept of ecstasies in Böhme’s aesthetics. The transition from Schmitz’s concept of semi-things to the problem of ecstasies is shown. Ecstasies in Böhme’s aesthetics describe a special space where various qualities of things spread. The radiance of light, the filling of the space with color, the play of light and shadow, the weight of sound—these qualities create an atmosphere. The mood of the place is created by the manifestation of these things, their “resonance,” giving a special aesthetic to the space. It is concluded that the perception of atmosphere includes: the perception of the place of the living body, affected by the mood of the place; the perception of one’s own relationship to the place, the world, and oneself; the perception of how the place reveals its own resonance and mood through the ecstatic properties of things and their ability to fill the entire space.

Keywords
aesthetics of atmospheres, felt body’s space space, absolute place, mood, “contraction” (Enge), “expansion” (Weite), Befindlichkeit, ecstasies.

References

• Andermann, K. (2007). Spielräume der Erfahrung: Kritik der transzendentalen Konstitution bei Merleau-Ponty, Deleuze und Schmitz. München: Wilhelm Fink Verlag.
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• Böhme, G. (2000). Acoustic Atmospheres: A Contribution to the Study of Ecological Aesthetics. Soundscape, 1 (1), 14–18.
• Böhme, G. (2001). Aisthetik. Vorlesungen über Ästhetik als allgemeine Wahrnehmungslehre. München: Wilhem Fink Verlag.
• Böhme, G. (2013a). Architektur und Atmosphäre. München: Wilhelm Fink Verlag.
• Böhme, G. (2013b). Atmosphäre. Essays zur neuen Ästhetik. Suhrkamp Frankfurt.
• Böhme, G. (2018). “Atmosphere” as a Fundamental Concept of New Aesthetics. Metamodern. Zhurnal o metamodernizme. Retrieved from https://metamodernizm.ru/atmosphere-and-a-new-aesthetics/. (In Russian)
• Böhme, G., & Thibaud, J-P. (2017). Aesthetics of Atmospheres (Ambiances, Atmospheres and Sensory Experiences of Spaces). London/New York: Routledge.
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THE AGE OF THE SYSTEMIC IMPERATIVE. A PHENOMENOLOGICAL DIAGNOSIS OF SOCIAL RESPONSIBILITY

Abstract
We provide a phenomenological interpretation of the rise of responsibility as a key concept of contemporary ethics. If we consider the philosophical tradition at large, responsibility has emerged as a concern, or even the center of attention, of ethical reflection only in relatively recent times. How can we account for this emergence? We argue that today’s pervasive concern with responsibility envisages a responsibility that is constitutively “social,” and that the thus understood responsibility traces back to a more original trait of sense, which presently informs our relation to the world. This trait we call “responsive.” Hence, our contention is that, when in contemporary ethical discourse we speak of (social) responsibility, the latter has a fundamentally responsive character. The responsive character of the contemporary concept of responsibility is related to the appearance of a new kind of imperative, which we call “systemic.” Originating from the unique imperative of “the system of universal existence,” systemic imperatives have the form of factual urgencies, which, while demanding an urgent and effective response, exclude the scope of what traditional ethics conceives as the perfectibility of beings. Our diagnosis of responsive responsibility in the horizon of the systemic imperative is guided by the phenomenon of “original responsibility”, which we obtain from Heidegger’s hermeneutic phenomenology. “Original responsibility” refers to the relation between man’s being and being itself. The form of this relation is that man’s being consists in a (needed) response to being itself. Based on this hermeneutic framework, we show how the kind of threat which informs the systemic imperative (here exemplified by Hans Jonas’s “ecological imperative”) holds in store the expectability of a new “perfection” of beings.

Keywords
social responsibility, responsive ethics, perfection, systemic imperative, categorical imperative, hermeneutic phenomenology, Hans Jonas, Martin Heidegger.

References

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