Papers by Michele Gardini
Altri Territori, 2024
A critical discussion of Walton's and Scruton's theses on photography.
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Altri Territori, 2022
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De Musica, Dec 13, 2014
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Altri Territori, 2021
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Dianoia, 1997
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Studi di Estetica, 2013
Intervento al convegno "Anceschi e gli specchi dell'estetica", Bologna 2012
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“Aesthetica. Supplementa”, 23, 2009
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“Discipline Filosofiche”, XVIII, 2, 2009
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S. Besoli, a cura di, Ludwig Binswanger. Esperienza della soggettività e trascendenza dell’altro. I margini di un’esplorazione fenomenologico-psichiatrica, Quodlibet, Macerata, 2006
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De Musica, 2018 -XXII , 2018
Transition is the fundamental constructive and phenomenological principle of music in its classic... more Transition is the fundamental constructive and phenomenological principle of music in its classic and traditional meaning. It is not a conventional principle, but an almost "narrative" form biologically rooted in early interactions between child and mother, that makes the musical experience an anthropological fact even before than an aesthetical one. Through the melodic and rhythmic forms of the musical exchange, the child takes progressively possession of the real and he’s able to categorize it, assuming consciousness of his own finiteness and mortality at the same time. The "modern music" described and analysed by Adorno has shaken these phenomenological and formal structures and, accordingly, has removed the ontogenetic rooting of music in the original child-mother dyad. The comparison between the positions of Adorno and the studies of Binswanger, von Weizsäcker, Maldiney demonstrates that the schizophrenic’s disoriented experience of the world presents, from a psychological and an anthropological point of view, the more adequate correspondence to the cultural and ideological proposal of the avant-garde music. The dodecaphonic device, designed to immobilize the time, cancel the development and prevent the natural melodic and existential transition from life to death bears, as its effect, the dissolution of the transitional structures of imagination, of game and of illusion, the loss of the world and the return of the removed – death – in the heart of the characteristic vitalism and voluntarism of the new music.
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Un'idea di scuola, 2018
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Aisthesis Pratiche Linguaggi E Saperi Dell Estetico, 2013
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Aisthesis Pratiche Linguaggi E Saperi Dell Estetico, 2008
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Scienza e Filosofia, 2015
The system of classical psychoanalysis, as built by Freud, grants almost no space to the phenomen... more The system of classical psychoanalysis, as built by Freud, grants almost no space to the phenomenon of sound and music. Indeed, many aspects of music, though not all, appear incompatible with his conception of the unconscious. Only slowly and painfully, through the reflection and the analytical and aesthetic categories worked out by figures such as Melanie Klein, Donald Winnicott, Daniel Stern, Didier Anzieu and Michel Imberty, music has finally found its rightful place in the vast map of psychoanalytic science. Many metapsychological categories first elaborated by Freud appear now, retrospectively, as limited on the one hand to the iconic and linguistic dimension, on the other to specifically pathological situations and finally, from the musical point of view, to the "new music", testimony of the world in “era of the technique” and subject of the masterly analysis by Theodor Adorno.
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De Musica, 2014
A reinterpretation of Wackenroder's philosophy of music exploiting phenomenological and analytica... more A reinterpretation of Wackenroder's philosophy of music exploiting phenomenological and analytical categories.
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Gadamer: Bilanci e prospettive, a cura di M. Gardini e G. Matteucci, Quodlibet, Macerata, 2004
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Discipline Filosofiche, 2002
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Discipline Filosofiche, 1999
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Book Reviews by Michele Gardini
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Papers by Michele Gardini
Book Reviews by Michele Gardini