This dissertation offers a phenomenology of that mode of self-interpretation in which it becomes possible for an interpreter to intentionally participate in the production of moral norms to which the interpreter himself or herself feels bound. Part One draws on Richard Rorty's notion of the "ironist" in order to thematize the phenomenon I call "moral friction"; a condition in which an interpreter becomes explicitly aware of the historical and cultural contingencies of their own moral vocabularies, practices, and concerns and as a result find themselves incapable of feeling the normative weight implicit in these. Part Two draws on Heidegger's existential analytic of human being, Gadamer's development of Hermeneutic Phenomenology, and Hegel's notion of "sublation" in order to map how novel interpretations can irreversibly displace the coherence of older interpretations. I call this form of interpretation "moral phenomenology." Finally, in Part Three, I utilize a selective phenomenology of musical improvisation to plot the unique temporal orientation of self-interpretation that results from intentionally deploying this irreversible displacement of older interpretations that involve normative moral implications. I call the form of life that is marked by this hermeneutic mode the "improviser." The result is a description of a form of life in which it becomes possible to explicitly participate in the production of moral norms within a historical and culturally contingent context that nevertheless preserves standards of rational justification for normative moral judgment without the need for atemporal first principles. The availability of this mode of self-interpretation displaces the sharp distinction between non-normative descriptive phenomenology and normative moral reasoning by placing the latter within a non-teleological historical practice that engages in the production of interpretations which irreversibly displace older interpretations--a practice that is governed by the critical cultivation of contingent moral norms within the open investigation into the good life for human being.

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Film musicology is growing at a heartening pace, but the discipline is still bereft of sustained contributions from music theory. The current study seizes the opportunity presented by the underanalyzed repertoire of film music, offering an argument for applying the techniques of transformational analysis, and neo-Riemannian analysis in particular, to the interpretation of music for the moving image. Film musical style and form respond strongly to a transformational approach, which adapts well to both the triadic chromaticism characteristic of Hollywood’s harmonic practice and the dynamic and contingent condition of musical design inherent to the medium. Concurrently, the analytic tools and conceptual structure of neo-Riemannian theory benefit from exposure to a fresh repertoire with different analytic needs than those of art music. In this dissertation, the author scrutinizes the capacity for tonality to act as a unifying and dramatically potent force in film. With parameters of effective cinematic tonal design established, the adapted transformational methodology responds faithfully to the expressive and temporal qualities of the soundtrack. The author develops a model for harmonic associativity and a general hermeneutics of transformation, extrapolated from analyses of scores from John Williams, James Horner, Jerry Goldsmith, and many others. The power of the transformational approach to capture tonal phenomena through spatial representations is marshaled to perform critical readings of scores for A Beautiful Mind and Star Trek. Not only can the neo-Riemannian stance illuminate the way film music works, but it can train the listener and analyst to perceive and enjoy film with more sensitive ears. / Music

Detta självständiga arbete utforskar min egen interpretationsprocess och musikaliska gestaltning av stycket O wüsst’ ich doch den Weg zurück tonsatt av Johannes Brahms (1833-1897), text av Klaus Groth (1819-1899) utifrån ett hermeneutiskt perspektiv. Insamling av data har skett under en termin med hjälp av loggbok och videoinspelning. Syftet med denna studie är att få en större insikt i, och förståelse för vad ett interpretationsarbete innebär. Analysresultatet visar att interpretationsprocessen innehåller många olika moment och delmoment som sammanfattats i dessa sex teman: Översättning och tolkning, uttal och textning, inre scenografi, musikaliska uttrycksmedel, memorering samt samspel med pianist. Resultatet diskuteras därefter i relation till tidigare forskning och bakgrundslitteratur inom området. / This study explores my own assimilation process, and musical interpretation of the piece O wüsst’ ich doch den Weg zurück composed by Johannes Brahms (1833-1897), text by Klaus Groth (1819-1899) from a hermeneutic perspective. The data was gathered during one semester and has mainly been taken down in form of a logbook and at some selected occasions video recording was used. The purpose of this work is to find out what an interpretation process can include and how it might be structured in order to be able to develop the interpretational process. The results of this study show that the interpretation process includes many different elements, which is summarized in six themes: Translation and interpretation, pronunciation and articulation, musical expressions, internal imaging, memorization and interaction with the pianist. The results are then discussed in relation to previous research and literature.

The idea that music acts in part as a vehicle for meaning is a truism in both popular reception and music scholarship. The language used to speak and to write about music is replete with words that describe it metaphorically. Melodies descend; rhythms speed up; timbre is smooth. Certainly, we use these terms for communicative facility, yet by applying this language to music, we create metaphors that, according to Ludwig Wittgenstein, act as frames that direct interpretation. In the paper, I put forth a theory that views metaphor as the process of semantic transfer or substitution in which a non-musical concept stands in for a musical feature, effectively enabling us to hear music as more than simply sound. The use of certain metaphors receives inspiration from previously heard music, programs, a perceived similarity with non-musical phenomena, or a combination of these. The methodology that I propose coordinates these metaphors—places them within a single frame—and enables them to interact with one another and to create a more palpable musical experience for the listener. I use Chopin's E minor and A major preludes from Op. 28 as the primary models for expounding this hermeneutic. / text

Daß im hermeneutischen Denken nicht Konstruktion der geschichtlichen Welt aus präsentischer Selbstgewißhelt, vielmehr Nachkonstruktion aus Notwendigkeit zur Selbstkonstitution Aufgabe wird, verweist auf eine gewandelte Bestimmung von Subjektivität, für die aus Kants Transzendentalphilosophie die Einbildungskraft zum Prinzip genommen wird, das als \"Phantasie\" (Reden über Religion) oder, in Schellings Worten, als Vermögen der \"Passivität aus Selbsttätigkeit\" gilt. Indem so aus Schleiermachers Schriften radikaler als aus der idealistischen Geschichtsphilosophie der Bruch mit der aufklärerisch-rationalistischen Geschichtsauffassung gelesen werden kann, läßt sich das Pathos der spätromantischen Verklärung des historischen Bewußtseins revidieren und in eins damit begründen.

Les pensées herméneutiques de Gadamer et de Ricœur reconnaissent toutes deux une importance centrale, mais trop peu remarquée, au phénomène de la traduction. Elles lui attribuent même une valeur de modèle philosophique, mais l’abordent dans des perspectives différentes. Notre mémoire tâchera de présenter ces deux conceptions de la traduction et d’insister autant sur leurs similitudes que sur leurs divergences. Nous verrons que si pour Gadamer, la traduction sert surtout à mettre en évidence l’universalité de l’élément langagier, Ricœur s’intéresse, pour sa part, davantage à ses implications éthiques, qui restent seulement implicites dans la pensée gadamérienne. / The hermeneutic thoughts of Gadamer and Ricœur both recognize a great importance, albeit somewhat discretely, to the issue of translation. They view it as a philosophical model of value, but treat it from rather different perspectives. Our study will present these two views of translation, insisting on both their similarities and differences. We will see that if for Gadamer, translation is used mostly to emphasise the universality of the linguistic element, Ricœur is mostly interested in its ethical implications, which remain only implicit in Gadamer’s thought.

Disertacijos tyrimo objektas yra estetikos sampratos transformacijos problema kontinentinėje XX amžiaus Vakarų filosofijoje. Šiuolaikiniame mąstyme susiduriame su būtinybe peržiūrėti modernistinę estetikos sampratą, nes tampa vis labiau akivaizdu, kad ja vadovaujantis neįmanoma paaiškinti subjektyvios meno patirties keliu prieinamos išskirtinių būties tiesų atverties. Dėl šios priežasties šiuolaikinėje filosofijoje kvestionuojamas pats „estetikos“ terminas, argumentuojant, kad estetika, arba meno filosofija, turėtų ne nustatyti meno kūrinio vertinimo kriterijus, bet kelti sau tikslą mąstyti dėka tų prieštaravimų, kurie neišvengiamai lydi meno patirtį. Disertacijoje estetikos sampratos transformacija analizuojama nagrinėjant italų filosofo Benedetto Croce‘s estetiką ir vokiečių mąstytojo Hanso Georgo Gadamerio meno filosofiją. Teigiama, kad Croce ir Gadameris, nesutikdami su Kanto filosofijos įtakoje susiformavusia subjektyvistine modernistinės estetikos samprata, skirtingais būdais įrodo, jog meno patirties keliu pasiekiami tokie bendražmogiški patyrimo aspektai, kurie niekaip kitaip nėra prieinami. Parodoma, kad Croce‘s filosofijoje prie modernistinės estetikos sampratos transformacijos priartėjama pamatiniu pažinimu įvardinus ne jusles ir ne protą, bet kūrybinę intuiciją. Konstatuojama, kad Gadameris savo hermeneutikoje transformuoja subjektyvistinę modernistinės estetikos sampratą į meno filosofiją, meno kūriniui suteikdamas ontologinį statusą ir iškeldamas meno... [toliau žr. visą tekstą] / The object of the dissertation is the problem of the transformation of the concept of aesthetics in Western continental philosophy of the 20th century. In contemporary thought the need to review the modernist concept of aesthetics becomes more and more evident as on the basis of this concept it is impossible to explain how revelation of unique metaphysical truths is attained by way of subjective experience of art. For this reason, in contemporary philosophy the very term of “aesthetics” is questioned, arguing that aesthetics or the philosophy of art, instead of establishing the criteria of judgement of an artwork, should rather aim at thought due to the controversies and paradoxes inevitably surrounding the experience of art. In the dissertation the transformation of the concept of aesthetics is analysed by examining the aesthetics of the Italian philosopher Benedetto Croce and the philosophy of art of the German thinker Hans Georg Gadamer. The study argues that by opposing the subjectivist concept of modernist aesthetics formed under the influence of Kant, Croce and Gadamer prove, in different ways, that the way of the experience of art allows to attain the aspects of common human experience that are unattainable in any other way. The research demonstrates that in Croce’s philosophy the transformation of the modernist concept of aesthetics is approached by choosing creative intuition, rather than senses or reason, as a fundamental way of knowing. The dissertation states... [to full text]

The object of the dissertation is the problem of the transformation of the concept of aesthetics in Western continental philosophy of the 20th century. In contemporary thought the need to review the modernist concept of aesthetics becomes more and more evident as on the basis of this concept it is impossible to explain how revelation of unique metaphysical truths is attained by way of subjective experience of art. For this reason, in contemporary philosophy the very term of “aesthetics” is questioned, arguing that aesthetics or the philosophy of art, instead of establishing the criteria of judgement of an artwork, should rather aim at thought due to the controversies and paradoxes inevitably surrounding the experience of art. In the dissertation the transformation of the concept of aesthetics is analysed by examining the aesthetics of the Italian philosopher Benedetto Croce and the philosophy of art of the German thinker Hans Georg Gadamer. The study argues that by opposing the subjectivist concept of modernist aesthetics formed under the influence of Kant, Croce and Gadamer prove, in different ways, that the way of the experience of art allows to attain the aspects of common human experience that are unattainable in any other way. The research demonstrates that in Croce’s philosophy the transformation of the modernist concept of aesthetics is approached by choosing creative intuition, rather than senses or reason, as a fundamental way of knowing. The dissertation states... [to full text] / Disertacijos tyrimo objektas yra estetikos sampratos transformacijos problema kontinentinėje XX amžiaus Vakarų filosofijoje. Šiuolaikiniame mąstyme susiduriame su būtinybe peržiūrėti modernistinę estetikos sampratą, nes tampa vis labiau akivaizdu, kad ja vadovaujantis neįmanoma paaiškinti subjektyvios meno patirties keliu prieinamos išskirtinių būties tiesų atverties. Dėl šios priežasties šiuolaikinėje filosofijoje kvestionuojamas pats „estetikos“ terminas, argumentuojant, kad estetika, arba meno filosofija, turėtų ne nustatyti meno kūrinio vertinimo kriterijus, bet kelti sau tikslą mąstyti dėka tų prieštaravimų, kurie neišvengiamai lydi meno patirtį. Disertacijoje estetikos sampratos transformacija analizuojama nagrinėjant italų filosofo Benedetto Croce‘s estetiką ir vokiečių mąstytojo Hanso Georgo Gadamerio meno filosofiją. Teigiama, kad Croce ir Gadameris, nesutikdami su Kanto filosofijos įtakoje susiformavusia subjektyvistine modernistinės estetikos samprata, skirtingais būdais įrodo, jog meno patirties keliu pasiekiami tokie bendražmogiški patyrimo aspektai, kurie niekaip kitaip nėra prieinami. Parodoma, kad Croce‘s filosofijoje prie modernistinės estetikos sampratos transformacijos priartėjama pamatiniu pažinimu įvardinus ne jusles ir ne protą, bet kūrybinę intuiciją. Konstatuojama, kad Gadameris savo hermeneutikoje transformuoja subjektyvistinę modernistinės estetikos sampratą į meno filosofiją, meno kūriniui suteikdamas ontologinį statusą ir iškeldamas meno... [toliau žr. visą tekstą]

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