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:: Volume 2, Issue 5 (3-2020) ::
پژوهشنامه 2020, 2(5): 121-0 Back to browse issues page
Existential Semiotics and its Application to Music: The Zemic Theory and its Birth from the Spirit of Music
Eero Tarasti
Abstract:   (451 Views)
Existential semiotics, a new theory stemming from combination of classical semiotics (Paris school) and continental philosophy, has led us to two notions of transcendence and – zemic. By zemic we understand four modes of being (Hegel) interpreted via the categories of Moi and Soi, inserted first to a semiotic square and then dynamized by two movements of sublimation and embodiment. A new model for music analysis grows from this starting point. In the background loom the two ways of transcending: transascendence and transdescendence (Jean Wahl), which appear as gestures of musical discourse. Ultimately this is close to the ’breathing of the hand’ at the piano playing method by the Parisian teacher Jules Gentil. Moreover, historically, the idea occurs also in some notes in the Brown Book by Richard Wagner referring to Indian Hindu philosophy. This has its consequences in the whole of theory of existential semiotics as a metaphysical system.
Keywords: existentiality, Moi and Soi, gestures, transcendence, semiotics, performance.
Full-Text [PDF 452 kb]   (144 Downloads)    
Type of Study: Research | Subject: Special
Received: 2019/12/31 | Accepted: 2020/02/29
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Tarasti E. Existential Semiotics and its Application to Music: The Zemic Theory and its Birth from the Spirit of Music. پژوهشنامه. 2020; 2 (5) :121-0
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Volume 2, Issue 5 (3-2020) Back to browse issues page
پژوهشنامه فرهنگستان هنر Pazhouhesh Nameh-e Farhangestan-e Honar
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