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Music & Philosophy (Paperback)
Loot Price: R458
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Music & Philosophy (Paperback)
Series: Marquette Studies in Philosophy, 42
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List price R539
Loot Price R458
Discovery Miles 4 580
You Save R81 (15%)
Expected to ship within 12 - 17 working days
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Music played a central role in the thought of existentialist
philosopher Gabriel Marcel (1889-1973). One of the most tantalizing
claims he made was in a set of conversations with Paul Ricoeur.
Employing a geographic metaphor, he claimed that philosophy was the
continent of his work while his plays formed the off-shore islands;
but what was deepest was music as the water that conjoins the two.
One who wishes to understand how he thought of music will find that
his philosophical writings contain only a few, quasi-aphoristic,
though significantly penetrating things about the nature of music
and its relation to his thought. Disappointingly, neither his short
"An Essay in Autobiography" of 1947 nor his larger autobiography of
1971, Awakenings, adds much to that beyond a few remarks. But the
latter work makes reference to an article, "La musique dans mon vie
et mon oeuvre," a lecture he delivered in Vienna in 1959, that
turned out to be a significantly richer source. And if one turns to
his bibliography, one discovers that, as a music critic, Marcel
published over 100 items on music--including Musique dans mon vie"!
None of them are available in English. Those of greater length and
philosophical interest were gathered together, along with several
shorter representative pieces, in the work entitled L'esthetique
musicale de Gabriel Marcel that appeared in the Presence de Gabriel
Marcel series. In order to enrich and deepen the appreciation of
Marcel's thought in the English-speaking world by following up his
understanding of the central role of music in his thought, but also
to underscore the central role of music in his thought, but also to
underscore the central importance of the aesthetic inhuman
experience, we have selected the main articles that appeared in
that work for translation here. Marcel complained that (as of 1959)
commentators had not paid significant attention to the close
connection between music and philosophy. The present text should
remedy that.
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