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Zbornik radova Akademije umetnosti
2018, br. 6, str. 64-88
jezik rada: engleski
vrsta rada: izvorni naučni članak
doi:10.5937/ZbAkUm1801064T

Creative Commons License 4.0
Afekti haosa - retorički patos i epistemiologija muzičkog diskursa
aFederal University of Mato Grosso do Sul (UFMS), Brazil
bSão Paulo University (USP), Brazil

Sažetak

Ovaj rad predlaže sistematično promišljanje o tome kako izvođenja otelovljavaju ne samo predložene načine izlaganja nego i projekcije afektivnih svetova, pri čemu pokušava da izbegne objektivizaciju ljudi i osećanja u korist pokretnog i fluidnog osećaja za značenje. Ovo promišljanje je uglavnom okrenuto ka realnosti muzičkog diskursa, naročito savremenog, gde izgleda preovladava nedostatak konsenzusa, ali koje prožima sve umetnosti koje, na neki način, sagledavaju istu trenutnu situaciju u izvođačkom činu. Počinje diskusijom o patosu (pathos) u filozofiji, pokušavajući da prati njegov razvoj kroz istoriju, a završava se njegovom latinskom formom u vidu afekta (affectus). Oba pojma se odnose na rasprave o tome šta sada znači umetnički diskurs i kako je moguće to spoznati, oslanjajući se na koncepte poput shodnosti (fittingness), empatije (empathy) i štimunga (Stimmung), na koje upućuje misao filozofa poput Žila Deleza (Gilles Deleuze), Nikolasa Volterstorfa (Nicholas Wolterstorff), Martina Hajdegera (Martin Heidegger) kao i antička obnovljena umetnost retorike.

Ključne reči

savremena muzika; muzička retorika; muzičko izvođenje; epistemiologija; muzički gest

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