Berlioz et les philosophes -- Une philosophie pressentie -- La philosophie de Berlioz -- Philosophie de la musique -- Portée philosophique de l'œuvre de Berlioz.

This essay explores the question of the uncertain relationship between historical narratives, the archive, and past reality by drawing links between Carlo Ginzburg's 1976 The Cheese and the Worms, and Hector Berlioz's 1830 Symphonie Fantastique. I suggest that Ginzburg's microhistory provides valuable insight into how a mode of historical scholarship premised on the concept of translation might proceed. The symphony provides an example of translation in the medium of music and, by way of comparison with Ginzburg's text, illuminates how (...) a similar mode is already operative within the historical work insofar as history remains a dialogical activity. Key, then, is that translation produces dialogical texts, where each voice contributes to the shared production of meaning. (shrink)

Natalie Zemon Davis’s work has decentered the identities of her subjects as part of seeing their complexity. This essay, inspired by Davis’s rich thought and scholarship, looks at the ways in which the Romantics in the arts decentered their thought and practices away from the West. Their decentering involved serious study of non-Western thought and its incorporation into their art, and the regular use of opium to shape their creative works. One borrowed theme was transcendence to a higher mode of (...) existence, often through sexual union with a woman. So influential did Romantic tropes, themes, and images derived from outside the West become that they persisted in Western culture long after the Romantics themselves had lost interest in the body of non-Western culture from which they drew. Examples include the work of Samuel Coleridge, Walter Scott, Hector Berlioz, the Schlegel brothers, Caroline Günderode, Sidney Owenson, and others. (shrink)

L’instrument de musique est abordé non pas isolément mais avec la musique dans laquelle il intervient et par laquelle il se réalise véritablement comme instrument de musique. Après des éléments de définition abordés en rayonnant autour de l’idée de Berlioz du « corps sonore utilisé par le compositeur », l’accent est mis sur le rôle de la pratique instrumentale et de la technique instrumentale. Sont décrites alors les diverses formes de l’identité de l’instrument (de l’identité-objet à l’identité-répertoire) puis ses potentialités (...) (les éléments sonores précis qu’il doit permettre de produire, comme les possibilités nouvelles qu’il va offrir au cours de son histoire). (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

Thinking, Language, and Experience was first published in 1989.Hector-Neri Castañeda's intricate and provocative essays have been widely influential, especially his work in epistemology and ethics, and his theory on the relation of thought to action. The fourteen essays in Thinking, Language, and Experience -- half of them written expressly for this volume -- demonstrate the breadth and richness of his recent work on the unitary structure of human experience.A comprehensive, unified study of phenomena at the intersection between experience, thinking, (...) language, and reality, this book focuses on singular reference -- that is, reference to individuals insofar as they are thought of as individuals: indicators, quasi-indicators, proper names, singular descriptions. Castañeda establishes a large number of new facts -- linguistic, semantic, psychological, and sociological -- about the workings of language in human experience, and from them develops a network of new theories, all grounded in his comprehensive Guise Theory.These theories offer a systematic account for: the structure of human experience and the world at large; the mental powers required to think of the world and to undergo experiences; self-consciousness; the language for thinking of other minds; perception and the interaction between indexical reference and perceptual fields; and the role of subjectivity in perception and intentional action. (shrink)

The paper is devoted to some Leibniz's works concerning formal calculus, which makes use of so-called real sum operator. The author tries to show that the calculus had been created to articulate certain metaphysical intuitions specific for Leibniz. The calculus made it possible to put forth and to solve some problems unknown to the scholastic tradition.

Since it appeared as one of the supreme ideals of 1789, fraternity was a troublesome, disturbing presence. Revolutionaries and their ideological heirs condemned it to obliteration. The contemporary crisis of the ideals of freedom and equality has recently brought fraternity into focus again. A deeper analysis of Fraternity as a political concept reveals a whole world of analogical concepts that political Modernity has ignored.

Este artículo analiza, de una manera introductoria, el concepto de prejubilación. A partir de una perspectiva psicosocial, se señalan los problemas derivados de esa expulsión prematura del mercado laboral que padecen personas mayores de cincuenta y cinco años. Son trabajadores cualificados, con una experiencia acumulada que, para muchas empresas, deja de ser un valor añadido y se convierte en una carga. La identificación con el trabajo y la percepción de la nueva situación son los factores principales que determinan la adaptación (...) positiva o negativa de esas personas prejubiladas, en un mundo global donde los antiguos esquemas de sentido se han derrumbado. (shrink)

Studies in Wilfrid Sellars' philosophy: Aune, B. Sellars on practical reason.--Castañeda, H.-N. Some reflections on Wilfrid Sellars' theory of intentions.--Donagan, A. Determinism and freedom: Sellars and the reconciliationist thesis.--Robinson, W. S. The legend of the given.--Clark, R. The sensuous content of perception.--Grossmann, R. Perceptual objects, elementary particles, and emergent properties.--Rosenberg, J. F. The elusiveness of categories, the Archimedean dilemma, and the nature of man: a study in Sellarsian metaphysics.--Turnbull, R. G. Things, natures, and properties.--Wells, R. The indispensable word "now."--Van Fraassen, (...) B. C. Theories and counterfactuals.--Harman, G. H. Wilfrid Sellars' Theory of induction.--Sellarsiana: Sellars, W. Autobiographical reflections.--Sellars, W. The structure of knowledge. Lecture I, perception. Lecture II, minds. Lecture III, epistemic principles.--Wilfrid Sellars' Philosophical bibliography. (p. 349-353). (shrink)

The aim of chis paper s to attend che Aristotelian theory of definition in Topics book VI. The author analyses che property "asápheia" as a defect of a good definition.

This is a multifaceted semantico-ontological investigation of different types of families of concepts and properties. One major result is that contrast between: (a) the ontologically egalitarian or democratic, but epistemologically hierarchical family of colors, and (b) the ontologically hierarchical or pyramidal familiy of negations. The different negations (of propositions, imperatives, properties, predication) are studied, and the unity of the whole family under a genus reveals the pyramidal structure of the family. The negation or properties has a powerful bearing on Russell’s (...) paradox -- which shows different strands in negation. The connections between existence and negation provides an introduction to Guise Theory and reveals some limitations in Bertrand Russell’s analysis of definite descriptions. (shrink)