Las voces de la música en María Zambrano = The voices of music in María Zambrano
From the assertion that music is the most inhuman art, this paper proceeds in three steps. Firstly, after Aristotle and Zambrano, it discusses the dichotomy between the voice of the logos and the voices of music. Secondly, by focusing on music as a voice from hell, a distinction is made between inhu...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | España |
| Recursos: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repositorio: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:10256/19176 |
| Acesso em linha: | http://hdl.handle.net/10256/19176 |
| Access Level: | acceso abierto |
| Palavra-chave: | Zambrano, María, 1904-1991 Blanchot, Maurice |
| Resumo: | From the assertion that music is the most inhuman art, this paper proceeds in three steps. Firstly, after Aristotle and Zambrano, it discusses the dichotomy between the voice of the logos and the voices of music. Secondly, by focusing on music as a voice from hell, a distinction is made between inhuman art and dehumanised art. Finally, in accordance with the genesis of the work of art in Zambrano and Blanchot, Or-pheus' voices are invoked to show that, despite Zambrano's silences regarding the revision of myth in 20th century music, works such as Pierre Henry's Le Voile d'Orphée, are teaching other ways of facing the hells of life |
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