Year: 2017
Type: article
Abstract: The culture of hearing or listening, which integrates into but also transcends the strictly musical sphere, has been gaining a particular philosophical rel- evance.Wolfgang Welsch, for example, takes up the discussion in a brief essay in which he analyzes turning to a culture of hearings an alternative to the cul- ture of seeing predominant in European thought from Heraclitus or Plato and considered inseparable from a model of civilization that is based on relations of domination over the human being and nature.The process of reification or dehumanization connected to a culture based on image is also pointed out by Jameson.The idea that only a culture of listening could rehabilitate sociocommunicative interaction, restore its critical and emancipatory potential, is equally present in an opera by Luigi Nono that excludes the visualization of the action or scenic representation-an opera entitled Prometeo, tragedia dell'ascolto (1985)-where listening (the tragedy of listening) is the essence of the myth of Prometheus and the question of liberation.It is the current debate around this topic that has led me to ask about the value that a culture of listening can have in literary creation.In previous papers, I considered listening only in its musical expression. 2 However, in this study of the fiction of Garrett, reflecting specifically upon Travels in My Homeland , the musical references will be part of the set of sono- rous references that are present in the narrative.The objective is to detect the presence of listening in the broadest sense, to analyze the situations in which
DOI: 10.62791/zfevm587
Author: Mário Vieira De Carvalho
Language: English
Subfield: Literature and Literary Theory
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W4401023892