Franz Liszt : Studien und Erinnerungen /

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Evocations of Nature in the Piano Music of Franz Liszt and the Seeds of Impressionism

Thesis (D.M.A.)--University of Washington, 2016-06

A CONTRIBUIÇÃO DO CONCEITO DE SUJEITO EM FRANZ HINKELAMMERT PARA O ESTUDO DA RELIGIÃO

A presente pesquisa tem como objetivo principal demonstrar a contribuição do conceito de sujeito em Franz Hinkelammert para o estudo da religião. Pretende-se mostrar o valor epistemológico crítico desse conceito, compreensível à luz do método dialético transcendental descoberto por Marx e desenvolvido por Hinkelammert, possibilitando sua aplicabilidade no estudo das ciências da religião. Procura-se responder à pergunta posta por Boaventura de Sousa Santos sobre a possibilidade de valorizar o potencial emancipador das subjetividades rebeldes, visando a superação da concepção abstrata de sujeito das ciências empíricas, cuja metodologia científica se fundamenta na objetividade neutral de cunho weberiano. Para tanto, analisa-se a relação entre essa concepção e os sacrifícios humanos dai decorrentes. A invisibilidade ou resignada aceitação desses sacrifícios apontam para a necessidade epistemológica da adoção do conceito de sujeito como critério científico de análise e discernimento, levando à descoberta e crítica das dinâmicas relacionais inconscientes que regem as sociedades entregues à inércia de suas estruturas. Trata-se dum conceito que implica numa teologia subjetiva na qual, Deus se faz presente como cúmplice da resistência das vítimas contra os dominadores , bem como dum critério não religioso que desemboca numa ética autônoma, voltada para uma práxis religiosa humanizadora.

In tyrannos! Political Theology and “messianic difference” in Franz Rosenzweig’s New Thinking

This paper deals with an elucidation of the theologico-political implications of Franz Rosenzweig’s relational conception of time in his work The Star of Redemption, the peculiarity of which expresses the concept “messianic difference”. Considered from the standpoint of the secularization debate, this messianic temporality offers a response to the verification of the Hegelian assembly of political philosophy and philosophy of history which, according to Rosenzweig, First World War represented. The consequent political disappointment experienced by the author of Hegel und der Staat led him to the pursuit of a Neues Denken determined by the ontological primacy of time as well as the unbreakable relationship which Rosenzweig established between “temporality” and “otherness”. Taking as terminus a quo the anthropological distinction between “personality” and “self”, i. e. between “ethics” and “metaethics”, that Rosenzweig presents in The Star, I will finally attempt to explore the various modes of temporalization that, depending on the relation to the temporalization of God and the world, are possible for the Rosenzweigian Self, as well as their related theologico-political aftermaths.

Franz Liszt’s Piano Sonata in B Minor: Precedents for an Analytical Evolution

Franz Liszt has all too often been discarded as the virtuosic showman, despite the fact that his several of works have often gained great praise and attracted scholarly engagement. However, one also finds striking development of formal design and tonal harmony in many of the works for his principal composition medium, the piano. This paper seeks to explore the practical application of James A. Hepokoski and Warren Darcy’s 'Sonata Theory' upon Liszt’s magnum opus for the instrument, the Sonata in B Minor.

I shall first consider the historical analyses placed upon the work that deal with structural design, as it pertains to the paradigm of Classical sonata-form. Previous research reveals two main theoretical camps; those in favour of a multi-movement analysis (with conflicting hypotheses therein) and those in favour of a single movement sonata-form. An understanding of these historical conceptions of the piece allows one to then highlight areas of conflict and offer a new solution.

Finally, I shall use Sonata Theory to survey the Sonata in B Minor’s landscape in a new light. The title ‘Sonata’ has clear generic implications, many of which are met by Liszt; 'Sonata Theory' provides a model with which to outline the compositional deformations employed by the composer and the implications of this practice. In particular, I offer new perspectives on the validity of the double-function form, insight into the rhetorical layout of a rotational discourse, and propose a nuanced analysis befitting of this striking work.

Humanismo, sujeto, modernidad. Sobre la crítica de la razón mítica de Franz Hinkelammert

El trabajo aborda la concepción de la historia y la crítica de la modernidad desarrolladas por F. Hinkelammert, a las que se ubica en la perspectiva desarrollada por (la primera) Escuela de Frankfurt, particularmente por Walter Benjamin. En la elaboración de las categorías fundamentales de la reflexion hinkelammertiana sobre la historia, se destaca un primer hito fundamental, constituido por la Crítica de la razón utópica. En esta obra, el autor presenta la aspiración de alcanzar verdaderas metas imposibles, pensadas en términos de instituciones perfectas, a partir de acercamientos progresivos, como una tendencia propia de la racionalidad moderna que debe ser sometida a critica. La Crítica de la razón mítica constituye el segundo hito de ese desarrollo critico, en el cual se retoma la relación entre cristianismo y modernidad a partir del concepto de “secularización”, mostrando sus relaciones de continuidad/ ruptura respecto a los resortes miticos que alientan paradójicamente la razón instrumental Abstract The work approaches the conception of history and the critique of modernity developed by F. Hinkelammert’s, which lies in the perspective developed by the (first) Frankfurt School, particularly by Walter Benjamin. In the developing of the fundamental categories of the Hinkelammert reflection on history, highlights a fundamental first landmark, constituted by the Critic of the utopian reason. In this work, the author presents the aspiration to achieve real impossible goals, thought in terms of perfect institutions, from progressive approaches, as an own tendency of the modern rationality that must be subjected to criticism. The Critic of the mythical reason constitutes the second landmark of that critical development, in which retakes the relation between Christianity and modernity from the concept of “secularization”, showing its relations of continuity/rupture in respect to the mythical springs that paradoxically encourage the instrumental reason.

A propósito de los cien años de La Metamorfosis, de Franz Kafka

Preguntas a escritores, artistas, poetas y profesores sobre La metamorfosis, de Franz Kafka1. ¿Cuándo, cómo y por qué leyó inicialmente La metamorfosis de Kafka y que le causó en ese momento su lectura y por qué?2. Leería de nuevo usted La metamorfosis de Kafka: ¿Qué necesidad o interés tendría de hacerlo y desde donde la haría?

Le silence des Sirènes : Franz Kafka

La nouvelle de Kafka, une page écrite le 23 octobre 1917, est une réécriture du passage de l’Odyssée d’Homère1 dans lequel Circé avertit Ulysse qu’il va passer au large de l’île des Sirènes. Ces êtres hybrides, mifemmes mioiseaux, attirent irrésistiblement les marins par leur chant et provoquent leur naufrage ce dont témoigne le rivage couvert d’ossements. Circé indique aussi à Ulysse le moyen d’échapper à ce sort funeste: il devra boucher les oreilles de ses compagnons avec de la cire; lui seul, solidement attaché au mât, pourra jouir de la voix des Sirènes.