波伊提乌《安慰哲学》中含蓄的音乐概念

Alina Kahalo
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引用次数: 0

摘要

本文试图论证波伊提乌的含蓄音乐概念的可能性和必要性。一个明确的概念是在文本中明显存在的东西。这就是通常在“思想史”中研究的内容。与此相反,内隐概念是作者对世界的无意识描绘,其中外显概念的基本概念是建立在此基础上的。因此,隐性概念是任何显性文本可能存在的条件。波伊提乌著名的《音乐制度论》主要复制了毕达哥拉斯的音乐观点,这是一个明确的概念。我们选择《哲学的慰藉》作为波伊提乌最具代表性和承载语义的文本,来寻找他对音乐的含蓄理解。它基于不同但无意识的基础。我们阅读这篇文章是为了寻找与这个概念相关的无意识语义。因此,音乐的无意识语义应该在最广泛的意义上用精神分析的方法来研究。这种方法要求从波伊提乌所使用的术语的内涵中寻找线索。文本接受的历史,包括不同的翻译,可以指明方向。我们也应该记住,我们阅读的文本是一种内部对话的记录,它带来了不同的本体论视界。此外,我们应该把文本看作是征兆和症状的结构,指向波伊提乌已经形成的无意识观念。本文讨论了这种方法的必要性以及在这种方法中获得的结果的相关性。本文概述了波伊提乌含蓄音乐概念重建的指导方针,并提出了这一概念的要素。通过进一步发展本文所展示和应用的方法,我们不仅能够更好地理解波伊提乌,而且我们可以揭示描述文化学者正在研究的现实的基本概念的内在内容。
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THE IMPLICIT CONCEPTION OF MUSIC IN BOETHIUS' "DE CONSOLATIONE PHILOSOPHIAE"
The paper is an attempt to demonstrate the possibility and necessity of an implicit conception of music in Boethius. An explicit conception is something that is obviously present in a text. That is what is usually studied within the 'history of ideas'. Contrary to this, an implicit conception is an unconscious picture of the author's world, in which the basic concepts of explicit conception are grounded. Therefore, the implicit conception is a condition for the possibility of any explicit text. So, the well-known text of Boethius' "De institutione musica", which but replicates mostly Pythagorean views of music, is an explicit conception. We chose "De consolatione philosophiae" as the most representative and semantically loaded text by Boethius to look for his implicit conception of music. It is based on different but unconscious grounds. We read this text to look for unconscious semantics associated with the concept. Thus, the unconscious semantics of music should be studied using the psychoanalytic approach in its broadest sense. The approach asks for the cues of connotations of the terms used by Boethius. The history of reception of the text, including different translations, can show the way. We should bear in mind, too, that the text we read is the record of an internal dialogue, which brings forth a different ontological horizon. Besides, we should see the text as a texture of signs and symptoms, pointing to unconscious notions Boethius had developed. The necessity of such an approach and the relevance of the results obtained within it are discussed in the article. The guidelines for the reconstruction of the implicit conception of music in Boethius are outlined and the elements of this conception are proposed. By further development of the method demonstrated and applied in this paper we shall be able not only to understand Boethius better, but we can reveal the intrinsic contents of the basic concepts describing the realities culture scholars are working with.
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