Dialectical opposition in Schoenberg's music and thought

Author(s):  
Michael Cherlin
Author(s):  
Dimitris Gourdoukis

This chapter traces the parallel development of the concept of standardization in architecture and of the idea of the architect as an artist / individual. The juxtaposition between the two goes back to Leon Batista Alberti, underlines modern architecture and reaches the current day where it still defines two different approaches for the production of architectural form through with the aid of digital media. The chapter proposes a third direction that breaks free from the dialectical opposition of the two and follows Deleuze's idea of the analog as a way to operate through modulation. That new direction is illustrated through an example in digital fabrication.


2008 ◽  
Vol 40 (11) ◽  
pp. 2588-2602 ◽  
Author(s):  
Sue Ruddick

The persistent divide within French philosophy between so-called structuralists and poststructuralists has been recently revived in the writings of Badiou and others. This narration of the history of French philosophy is trapped inevitably in the very way it poses the problem: as a dialectic of the negative. The abstracting of these traditions from all their messiness into a dialectical opposition is itself part of the problem, a misrepresentation, ignoring any points of convergence. Drawing centrally on the work of Pierre Macherey, I suggest this divide can be traced back to Hegel's profound misreading of Spinoza, which became the basis for Hegel's dialectic and Marx's subsequent inversion. I explore crucial points of convergence between Marx and Spinoza, and a resonance between Deleuze and Macherey (who are often stereotyped as emblems of oppositional tendencies within French philosophy). Their work converges on a rejection of negation as the defining quality of essence or multiplicity and, in the case of Deleuze and Macherey, a shared uptake of Spinoza's concept of potentia. Their work gestures towards the development of a dialectics of the positive: a problematic that might enable us to think across our differences to a political ontology that embraces the posthuman, immanent, and affirmative qualities of struggle.


Author(s):  
N. A. Vitchkovskiy ◽  
◽  
V. A. Osipov ◽  

The growing importance of intellectual property as an economic asset raises the issue of the content of intellectual property in the scientific discussions and the identification of scientific prerequisites for the formation and development of the intellectual property theory. The paper aims at the improvement of the conceptual and theoretical views on the economic category of intellectual property through establishing the dialectical interrelation with the concept of property. The authors propose considering intellectual property as a materially expressed result of the mental (intellectual) activity of a person, which invests its creator (author) or legal entities with the exclusive right for it, and it is confirmed by the relevant officially issued protection documents (patents or certificates) or statutory prescribed copyright norms. The research revealed the dichotomous nature of intellectual property. The study of property and intellectual property categories allowed establishing their dialectical opposition in terms of materiality and possibility of copying a legal object, the urgency and territorial limitation of property rights, and, most important, the dynamics of value in the process of consumption. However, the property and intellectual property categories also have a dialectical unity, which is not noted in the scientific literature. It is expressed in the mechanism of origin of property rights (in both cases, they are related to the problem of limited resources resulting in the necessity to choose the variant of an asset use), and in the mechanism of application of these rights, associated with the presence of both the right and the restrictions of this right, as well as liabilities of a copyright holder.


2000 ◽  
Vol 22 (2) ◽  
pp. 157-176 ◽  
Author(s):  
Michael Cherlin

2009 ◽  
Vol 17 (1) ◽  
pp. 31-59 ◽  
Author(s):  
Henry Heller

AbstractBeginning with Engels, Marxist historiography viewed the absolute monarchy in France as mediating between the nobility and the emergent capitalist bourgeoisie. More recent Marxist accounts stress that the absolute monarchy reflected the interests of the nobility. Revisionist Marxist historians have taken this perspective to an extreme arguing that, at the height of the Bourbon monarchy in the seventeenth century, a capitalist bourgeoisie did not exist. This paper argues that, in taking such a view, these historians have ignored the ongoing dialectical opposition between the forces of rent and profit in the early-modern period. As a result, they have severed the connection between the ancien régime and the Revolution of 1789. Despite being thrown on the defensive by the advance of rent and the crystallisation of the absolutist state, a capitalist bourgeoisie that emerged in sixteenth-century France survived and persevered during the seventeenth century. It resumed the initiative in the succeeding period of the Enlightenment.


10.34690/183 ◽  
2021 ◽  
pp. 130-141
Author(s):  
Надежда Аркадьевна Карпун

Статья посвящена проблеме эволюции музыкального театра в 1960-1970-е годы. Появление в данный период целого ряда произведений, декларирующих деконструкцию, разрушение существующих канонов и традиций музыкально-театрального искусства дало начало диалектическому противостоянию традиционного оперного и нового антиоперного направлений. В статье предпринимается попытка осмыслить природу антиоперы и пришедшей ей на смену антиантиоперы, оценить их значение для развития нового музыкального театра, сформулировать ключевые особенности данных феноменов. The article is devoted to the problem of the musical theatre's evolution in the 1960s-1970s. The appearance of a number of works declaring a deconstruction of existing canons and traditions of the musical theatre gave rise to dialectical opposition between opera and anti-opera. An attempt is made to reflect on the nature of antiopera and anti-antiopera that replaced it, define their significance for the development of New Music Theater, and formulate the essential features of these phenomena.


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