In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, (...) its application to Alban Berg’s work. (shrink)
It is difficult to place Deleuze’s philosophy within the hermeneutic paradigm that characterizes the philosophy of the second half of the XXth century, since he contrasted always the experimentation principle to the concepts of understanding and interpretation. Deleuze intended to forge his philosophy as experimental thought, as an alternative to the intents to establish everywhere ‘interpretation machines’. This paper thus seeks to sketch, the singularities of Deleuze’s experimentalism, from his practice as a historian of phi- losophy, to his project of (...) a philosophical constructivism. (shrink)
The concept of vagueness is essential to understand some Nietzsche’s main ideas about the relationship between language and reality. In this way, is it precisely vagueness, and not ambiguity or polysemy, which characterizes verbal-conceptual language for Nietzsche? In order to answer this question, firstly I will summarize the functions of the cognitive process, underlying all types of languages. Secondly, I will identify the Nietzsche’s closer concept in relation with the modern concept of ‘vagueness’ and interpret it following the rst section. (...) Thirdly, I will brie y examine what type of symbolic language is mu- sic. Finally, I will develop a comparison between verbal-conceptual language and musical language concerning the property of vagueness. The paper approach will be more theoretical than historio-graphical, because it focuses on the potential of Nietzsche’s thought regarding both the philosophy of language and the philosophy of music. (shrink)
In Nietzsche’s mature work reflections, marked by the elaboration of a semiotic conception of music, pain plays a central role in music. In order to extract its full potential, it is very fruitful to confront it with Theodor W. Adorno’s philosophy of music and his reading of Nietzschean texts. All that will be aimed at the main task of this study: to extract the guidelines of a ‘philosophical semiotics of music’, as a proposal for the present. And as a conclusion, (...) its application to Alban Berg’s work. (shrink)
