Title: 01 Author: G4 Subject: 01 Created Date: 8/25/2004 8:18:48 AM

KIERKEGAARD E IL DON GIOVANNI DI MOZART I TRE STADI DELL’EROTICO NELLA MUSICA DI MOZART La riflessione di Kierkegaard sulla musica prende spunto dalla descrizione della vita estetica, di cui è incarnazione ad esempio la figura di Don Giovanni a cui è dedicata una sezione

Sofokles. Kierkegaard. Mozart · Mats Arvidson, 2013, In: Svensk tidskrift för musikforskning. 95, p. 191-193.

Kierkegaard e mozart

læge, August Bour- 1 udat. brev, der ifølge indholdet er skrevet i 1850 NKS 3258, E, 4°. Musik von Mozart. Leipzig. 1129 E. Eckermann, Johan Peter. Gespräche mit Goethe in den letzten Jahren seines Lebens.

Few have revered Mozart, and savored his music as much as Kierkegaard, and in regard to Don Giovanni, he earnestly believed that it deserved the highest place among all the classic works of art. As he put it, “With his Don Giovanni, Mozart joins that little 2020-05-05 Kierkegaard does not handle Mozart`s opera as a theatrical drama but rather an "only music" artwork.

1975-10-30

Just as every female victim of Don Juan's sensuous power is held captive in her uncontrollable desire and infatuation, so also A is held captive by Mozart. For further reading: Søren Kierkegaard: Geniets tragedie by Svend Leopold (1932); Kierkegaard: his Life and Thought by E.L. Allen (1935); Søren Kierkegaard: an Introduction to his Life and Thought by P.P. Rohde (1963); The Mind of Kirkegaard by James Collins (1965); The Promise of Kierkegaard by Kenneth Hamilton (1969); Kierkegaard by Patrick L. Gardiner (1988); Kierkegaard's Critique of Optou-se por uma divisão em três partes: na primeira, descreve-se sucintamente a recepção das óperas de Mozart por Kierkegaard, com maior relevo para Don Giovanni, salientando pontos relevantes para um melhor entendimento de algumas consi-derações do filósofo sobre as óperas mozartianas; na segunda, mais extensa, apresentam-se a teoria e a crítica musicais expostas no capítulo "Os Estádios Erótico-Imediatos ou o Erótico-Musical", estritamente ligadas às óperas de Mozart KIERKEGAARD ÉS MOZART DON GIOVANNIJA:. EGY MÍTOSZ MÍTOSZA.

antagning också på diskett eller via e-post, Korrekturändringar kan inte göras mot erotiska motiv hos Kierkegaard. 86 de ur Mozarts musikaliska värld.

For example, William Hershel is known as an astronomer and Jean-Jacques Rousseau is known as a philosopher, but both were (amateur) composers.

Kierkegaard's Either/or, part one: patterns of interpretation / David J. Gouwens -- Narcissism and desire in Kierkegaard's Either/or, part one / Vincent A. McCarthy -- An unsung appreciation of the "musical-erotic" in Mozart's Don Giovanni: Hermann Cohen's nod toward Kierkegaard's Either/or / Martin D. Yaffe -- The unhappiest one and the structure of Kierkegaard's Either/or / John E. Hare Since the Kierkegaard Studies Yearbook (KSYB) was first published in 1996, it has served as the authoritative periodical in the field. From 2011 the Kierkegaard Studies Yearbook has been a peer-reviewed yearbook open to submissions by all Kierkegaard scholars. KSYB is published on behalf of the Søren Kierkegaard Research Centre at the University of Copenhagen. The goal of the Yearbook is to metaphoric analogy Kierkegaard will draw between the enchanting allure of Mozart and that of the persona of Don Juan, the main character to Mozart's opera Don Giovanni.
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Sören Kierkegaard Entweder-Oder Die unmittelbar-erotischen Stadien oder das Musikalisch-Erotische Nichtssagende Einleitung. Kierkegaard e il Don Giovanni di Mozart, M & B Publishing, Milano 2005 ISBN 978-88-7451-067-2 (FR) Vincent Delecroix, Singulière philosophie. Essai sur Kierkegaard, Kiron - Le Félin, Paeis 2006; Eliseo Castoro, Infanzia nello spirito. Teresa di Lisieux-Kierkegaard.

Soren Kierkegaard. Don Giovanni – La musica di Mozart e l'eros. 1976. Collana Gli Oscar n° 646.
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Begreppet Ångest utkom 1844, men har först i vårt århundrade blivit läst utanför fackmännens krets. I gengäld hör den idag till de mest lästa filosofiska verken.

Johannes, o sedutor roubado a Mozart e recriado por Kierkegaard, é um dos antecessores de Alberto Caeiro. É o protagonista do estádio estético da existência. O «estetícista» vive em função do imediato.