Certain manuscripts of Maurice Merleau-Ponty from the center of the investigation pursued in this essay, an investigation within the domain of philosophical interrogation of music. Merleau-Ponty exceeds the simple descriptive approach to music and makes it present as an open field in which the nodes of a philosophical interrogation disentangle themselves. The path is that of a philosophy which questions the perceptual faith but does not except an answer in the usual sense because it is not a question of revealing an unknown variable or invariable which will answer this question, and because the world exist in an interrogative mode. Although in a non-systematic form, Merleau-Ponty arrives at delimiting a deep relation between this type of philosophy and a-philosophy, discovering in hearing the place where this relational texture is made explicit. At this level, what is clarified and revealed is the value of art understood not as lexical, not as a verbal substitute for the world, but as the possibility of leading the silence of things themselves to expression. The relational structure seems, therefore, to be reversed: not philosophy in relation with music, but music in relation with philosophy, insofar as this art, like every artistic form in general, happens to be the very source of philosophical thought, the moment when it emerges.
La musica: il luogo dell'a-filosofia
DE LEO, DANIELA
2009-01-01
Abstract
Certain manuscripts of Maurice Merleau-Ponty from the center of the investigation pursued in this essay, an investigation within the domain of philosophical interrogation of music. Merleau-Ponty exceeds the simple descriptive approach to music and makes it present as an open field in which the nodes of a philosophical interrogation disentangle themselves. The path is that of a philosophy which questions the perceptual faith but does not except an answer in the usual sense because it is not a question of revealing an unknown variable or invariable which will answer this question, and because the world exist in an interrogative mode. Although in a non-systematic form, Merleau-Ponty arrives at delimiting a deep relation between this type of philosophy and a-philosophy, discovering in hearing the place where this relational texture is made explicit. At this level, what is clarified and revealed is the value of art understood not as lexical, not as a verbal substitute for the world, but as the possibility of leading the silence of things themselves to expression. The relational structure seems, therefore, to be reversed: not philosophy in relation with music, but music in relation with philosophy, insofar as this art, like every artistic form in general, happens to be the very source of philosophical thought, the moment when it emerges.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
