A Christian Art? Søren Kierkegaard’s Views on Music and Musical Performance Reconsidered

IF 0.2 0 PHILOSOPHY
N. Petersen
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Abstract

Abstract While the only extensive discussion of music in Kierkegaard’s work is the famous treatise based on Mozart’s opera Don Giovanni in the first part of the pseudonymous Either/Or (1843), Kierkegaard did write other brief passages, in which he made comments on musical aspects. Two recent articles have pointed to attitudes toward music in such passages which seem to differ from the negative evaluation of music as a religious or theological medium in the first part of Either/Or by the fictitious aesthete A. With a point of departure in the two mentioned articles, I attempt to further discuss the possible relationship between the ethical and the aesthetic in Kierkegaard’s musical thought, involving passages from both parts of Either/Or as well as a few journal-entries. Finally, Erika Fischer-Lichte’s distinction between staging and performativity is brought to bear on these issues.
基督教艺术?重新思考克尔凯郭尔的音乐与音乐表演观
虽然克尔凯郭尔的著作中唯一对音乐的广泛讨论是在笔名《要么要么》(1843)的第一部分中根据莫扎特的歌剧《唐璜》(Don Giovanni)撰写的著名论文,但克尔凯郭尔确实写了其他简短的段落,在这些段落中他对音乐方面进行了评论。最近的两篇文章指出音乐在这些段落的态度似乎不同于音乐作为宗教的负面评价或神学中非此即彼的第一部分通过虚构的审美家a .起点提到的两篇文章,我试图进一步讨论可能的伦理关系和克尔凯郭尔的音乐美学思想,涉及两部分/或段落以及一些日记。最后,埃里卡·费舍尔-利希特对舞台和表演的区分被带入这些问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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