Jazz și utopie. Către o interpretare meontologică a esteticii lui Theodor Adorno ~ Cornel-Florin Moraru - Portofoliu Academic
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Abstract: In this study I analyse Adorno’s critique to jazz music form a meontological perspective. To understand why the German philosopher found jazz to be a form of pseudo-artistic expression, a simple commodity produced by a music industry that has nothing to do with proper art, one must dig deep into Adorno’s “Aesthetic Theory” and “Negative Dialectics” to find out how the German philosopher views art as a whole and what presuppositions does his conception about jazz music, in particular, and pop culture, in general, imply. My main thesis is that Adorno did not resonate with jazz music because his philosophy implies that art is a form of negative dialectics that has to be understood solely through thinking (be it “rational thinking” or “affective thinking”). Jazz music, on the contrary, is a dance music or a “somatic music”, which can be understood, not through contemplation or any „pure” act of consciousness, but only by dancing, viewed as a form of „somatic” or „bodily” knowledge. So, Adorno’s critique to jazz refers to another meontological conceptual archeology than classical music and other traditional expressions of art, this being the reason why he conceives jazz as a pseudo-artistic form of expression.

Keywords: aesthetics, meontology, music, jazz, Adorno, negative dialectics, utopia.

Publicația: Revista de filosofie, Tomul LXVI, Nr. 3

Anul Publicării: 2019