Theodor W. Adorno |

Theodor W. Adorno

Isazi sefilosofi saseJalimane, isazi sezenhlalo, isazi somculo kanye nomqambi. Ufunde ukuqamba no-B. Sekles no-A. Berg, upiyano no-E. Jung no-E. Steuermann, kanye nomlando kanye nethiyori yomculo e-University of Vienna. Ngo-1928-31 wayengumhleli wephephabhuku lomculo laseViennese elithi "Anbruch", ngo-1931-33 wayenguprofesa osizayo eNyuvesi yaseFrankfurt. Exoshwa enyuvesi ngamaNazi, wathuthela eNgilandi (ngemuva kuka-1933), kusukela ngo-1938 wahlala e-USA, ngo-1941-49 - e-Los Angeles (isisebenzi se-Institute of Social Sciences). Wabe esebuyela eFrankfurt, lapho ayenguprofesa wasenyuvesi, omunye wabaholi be-Institute for Sociological Research.

U-Adorno uyisifundiswa esisebenza ngezindlela eziningi kanye nomsakazi. Imisebenzi yakhe yefilosofi nenhlalo yabantu kwezinye izimo futhi izifundo zomculo. Kakade ezihlokweni zokuqala zika-Adorno (sekupheleni kweminyaka engu-20) ukuthambekela okubucayi kwezenhlalo kwavezwa ngokucacile, okwakuyinkimbinkimbi, nokho, ngokubonakaliswa kwenhlamba yenhlalo yabantu. Phakathi neminyaka yokufuduka kweMelika, ukuvuthwa kokugcina okungokomoya kwe-Adorno kwafika, izimiso zakhe zobuhle zakhiwa.

Phakathi nomsebenzi wombhali u-T. Mann enovelini ethi Doctor Faustus, u-Adorno wayengumsizi wakhe kanye nomxhumanisi. Incazelo yesistimu yomculo we-serial nokugxeka kwawo esahlukweni sama-22 senoveli, kanye namazwi mayelana nolimi lomculo luka-L. Beethoven, kusekelwe ngokuphelele ekuhlaziyeni kuka-Adorno.

Umqondo wokuthuthukiswa kobuciko bomculo obekwe phambili ngu-Adorno, ukuhlaziywa kwesiko laseNtshonalanga Yurophu kunikezelwe ezincwadini eziningi kanye namaqoqo ezindatshana: "I-Essay on Wagner" (1952), "Prisms" (1955), "Dissonances" (1956), "Isingeniso ku-Musical Sociology" (1962) nokunye. Kuzo, u-Adorno ubonakala njengososayensi obukhali ekuhloleni kwakhe, ngubani, nokho, ufika eziphethweni ezingenathemba mayelana nesiphetho sesiko lomculo laseNtshonalanga Yurophu.

Umbuthano wamagama okudala emisebenzini ye-Adorno unomkhawulo. Ugxila ikakhulukazi emsebenzini ka-A. Schoenberg, A. Berg, A. Webrn, akavamile ukusho abaqambi ababaluleke ngokulinganayo. Ukwenqatshwa kwakhe kudlulela kubo bonke abaqambi nganoma iyiphi indlela ehlangene nokucabanga kwendabuko. Uyenqaba ukunikeza ukuhlolwa okuhle kokusungula ngisho nabaqambi abakhulu njengo-SS Prokofiev, DD Shostakovich, P. Hindemith, A. Honegger. Ukugxeka kwakhe kuphinde kuqondiswe kuma-post-war avant-gardists, u-Adorno abasola ngokulahlekelwa kwemvelo yolimi lomculo kanye nemvelo yemvelo yefomu lobuciko, ukuhlanganiswa kwezibalo zezibalo, okuholela ekuziphenduleleni komsindo.

Ngokungaguquki okukhulu nakakhulu, u-Adorno uhlasela ubuciko obubizwa ngokuthi "ubuningi", okuyinto, ngokombono wakhe, ekhonza ukugqilazwa okungokomoya komuntu. U-Adorno ukholelwa ukuthi ubuciko beqiniso kufanele buphikisana njalo kokubili ubuningi babathengi kanye nezinsiza zamandla ombuso alawula futhi aqondise isiko elisemthethweni. Kodwa-ke, ubuciko, obuphikisana nomkhuba olawulayo, kuvela, ekuqondeni kuka-Adorno, ukuba yi-elitist encane, ehlukaniswe ngokudabukisayo, ebulala imithombo ebalulekile yokudala ngokwayo.

Lokhu kuphikisa kwembula ukuvala nokungabi nathemba komqondo ka-Adorno wobuhle nezenhlalo. Ifilosofi yakhe yesiko inezixhumanisi ezilandelanayo nefilosofi kaF. Nietzsche, O. Spengler, X. Ortega y Gasset. Ezinye zezinhlinzeko zayo zakhiwe njengokusabela “kunqubomgomo yamasiko” edelelekile yeNational Socialists. I-schematism kanye nesimo esiyindida somqondo ka-Adorno kwabonakala ngokucacile encwadini yakhe ethi The Philosophy of New Music (1949), eyakhelwe ekuqhathaniseni umsebenzi ka-A. Schoenberg kanye no-I. Stravinsky.

I-Schoenberg's expressionism, ngokusho kuka-Adorno, iholela ekuhlakazweni kwefomu lomculo, ekwenqabeni komqambi ukudala "i-opus ephelile". Umsebenzi wobuciko ovaliwe ophelele, ngokusho kuka-Adorno, usuvele uhlanekezela iqiniso ngokuhleleka kwawo. Kusukela kulo mbono, u-Adorno ugxeka i-neoclassicism kaStravinsky, okusolakala ukuthi ibonisa inkohliso yokubuyisana komuntu ngamunye kanye nomphakathi, ukuguqula ubuciko bube yimibono engamanga.

U-Adorno wayebheka ubuciko obungenangqondo njengemvelo, buthethelela ubukhona babo ngonya lomphakathi owavela kuwo. Umsebenzi weqiniso wezobuciko empeleni wanamuhla, ngokusho kuka-Adorno, ungahlala kuphela "i-seismogram" evulekile yokushaqeka kwemizwa, imizwa engazi lutho kanye nokunyakaza okungacacile komphefumulo.

U-Adorno uyisikhulu esikhulu kwezomculo wesimanje waseNtshonalanga we-aesthetics kanye nenhlalo yabantu, ungumuntu oqinile omelene nobufascist futhi ogxeka isiko lonxiwankulu. Kodwa, egxeka iqiniso le-bourgeois, u-Adorno akazange ayamukele imibono ye-socialism, bahlala bengaziwa kuye. Isimo sengqondo esinobutha mayelana nesiko lomculo lase-USSR kanye namanye amazwe e-socialist sazibonakalisa ngenani lemidlalo ka-Adorno.

Ukubhikisha kwakhe ngokumelene nokulinganisa kanye nokuhweba kokuphila okungokomoya kuzwakala kubukhali, kodwa isiqalo esihle somqondo ka-Adorno wobuhle kanye nenhlalo yabantu sibuthakathaka kakhulu, asigculisi kunesiqalo esibucayi. Enqaba kokubili imibono yesimanje yonxiwankulu kanye nemibono yesocialist, u-Adorno wabona kungenandlela yangempela yokuphuma emgwaqeni ongokomoya nenhlalo weqiniso lonxiwankulu besimanje futhi, eqinisweni, wahlala ekubanjweni kwemibono engelona iqiniso kanye nemibono ekhohlisayo mayelana "nendlela yesithathu", mayelana nohlobo oluthile lwe "okunye" okungokoqobo komphakathi.

U-Adorno ungumbhali wemisebenzi yomculo: ezothando namakhwaya (emibhalweni ka-S. George, G. Trakl, T. Deubler), izingcezu ze-orchestra, amalungiselelo ezingoma zomdabu zaseFrance, izinsimbi zomculo wepiyano zikaR. Schumann, njll.