Приказ основних података о документу
'Materijal' u Adornovoj sociologiji muzike
'Material' in Adorno's sociology of music
dc.creator | Jeremić-Molnar, Dragana | |
dc.creator | Molnar, Aleksandar | |
dc.date.accessioned | 2021-10-12T10:53:44Z | |
dc.date.available | 2021-10-12T10:53:44Z | |
dc.date.issued | 2008 | |
dc.identifier.issn | 0085-6320 | |
dc.identifier.uri | http://reff.f.bg.ac.rs/handle/123456789/817 | |
dc.description.abstract | U članku autori se bave muzičkim 'materijalom' kao ključnim konceptom Adornove sociologije muzike. Kao sinteza dve, ideološki suprotstavljene - Šenbergove i Marksove - tradicije, Adornov 'materijal' kombinuje takođe suprotstavljena značenja. S jedne strane, u njemu odjekuje Šenbergova teorija odnosa između tona (kao prirodnog fenomena) i nesvesnog 'nagona' (koji kompozitora transformiše u oruđe prirode, ali i celokupnog čovečanstva). S druge strane, Adorno je sledio Marksovu opštu teoriju kapitalizma (svi kulturni fenomeni su determinisani materijalnom proizvodnjom), sa jednom krucijalnom inovacijom. Adornov 'materijal' je odražavao izostajanje istinske komunističke revolucije, umesto njene pripreme (u nedrima totalitarnog kapitalizma). Kao rezultat Adornove 'negativne dijalektike' u oblasti muzike, on je nosio poruku osujećene apokalipse. . | sr |
dc.description.abstract | In the article the authors are dealing with the musical 'material' as the key concept of Theodor Adorno's sociology of music. Being a synthesis of two, ideologically opposite - Schonberg's and Marx's - legacies, Adorno's 'material' combines also quite opposite meanings. On the one side, it echoes Schonberg's theory of relationship between tone (as natural phenomena) and unconscious 'instinct' (that transforms composer into some kind of the tool of nature, and whole mankind as well). On the other side, Adorno was following Karl Marx general theory of capitalism (all cultural phenomena are determined by the material production), with one crucial innovation. Adorno's 'material' was reflecting the lack of virtual communist revolution, instead of its preparation (in the bosom of totalitarian capitalism). As the result of Adorno's 'negative dialectics' in the field of music, it was carrying the message of the suppressed apocalypse. . | en |
dc.publisher | Sociološko društvo Srbije, Beograd | |
dc.rights | openAccess | |
dc.rights.uri | https://creativecommons.org/licenses/by-sa/4.0/ | |
dc.source | Sociološki pregled | |
dc.subject | revolucija | sr |
dc.subject | muzika | sr |
dc.subject | materijal | sr |
dc.subject | kapitalizam | sr |
dc.subject | atonalnost | sr |
dc.subject | revolution | en |
dc.subject | music | en |
dc.subject | material | en |
dc.subject | capitalism | en |
dc.subject | atonality | en |
dc.title | 'Materijal' u Adornovoj sociologiji muzike | sr |
dc.title | 'Material' in Adorno's sociology of music | en |
dc.type | article | |
dc.rights.license | BY-SA | |
dc.citation.epage | 384 | |
dc.citation.issue | 3 | |
dc.citation.other | 42(3): 365-384 | |
dc.citation.rank | M24 | |
dc.citation.spage | 365 | |
dc.citation.volume | 42 | |
dc.identifier.doi | 10.5937/socpreg0803365J | |
dc.identifier.fulltext | http://reff.f.bg.ac.rs/bitstream/id/2347/814.pdf | |
dc.type.version | publishedVersion |