Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such...

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Autor principal:	Cynthia R. Nielsen
Formato:	article
Lenguaje:	EN
Publicado:	University of Calgary 2016
Materias:	Gadamer and alterity Gadamer’s hermeneutical aesthetics Gadamer and free jazz hermeneutic identity art’s dynamic ontology tarrying with a work Philosophy (General) B1-5802
Acceso en línea:	https://doaj.org/article/072767b59e024e90b0f0ce7da76769f9
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spelling	oai:doaj.org-article:072767b59e024e90b0f0ce7da76769f92021-11-25T21:25:00ZGadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz10.11575/jah.v0i0.532771927-4416https://doaj.org/article/072767b59e024e90b0f0ce7da76769f92016-03-01T00:00:00Zhttps://journalhosting.ucalgary.ca/index.php/jah/article/view/53277https://doaj.org/toc/1927-4416 Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience. Cynthia R. NielsenUniversity of CalgaryarticleGadamer and alterityGadamer’s hermeneutical aestheticsGadamer and free jazzhermeneutic identityart’s dynamic ontologytarrying with a workPhilosophy (General)B1-5802ENJournal of Applied Hermeneutics (2016)
institution	DOAJ
collection	DOAJ
language	EN
topic	Gadamer and alterity Gadamer’s hermeneutical aesthetics Gadamer and free jazz hermeneutic identity art’s dynamic ontology tarrying with a work Philosophy (General) B1-5802
spellingShingle	Gadamer and alterity Gadamer’s hermeneutical aesthetics Gadamer and free jazz hermeneutic identity art’s dynamic ontology tarrying with a work Philosophy (General) B1-5802 Cynthia R. Nielsen Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz
description	Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience.
format	article
author	Cynthia R. Nielsen
author_facet	Cynthia R. Nielsen
author_sort	Cynthia R. Nielsen
title	Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz
title_short	Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz
title_full	Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz
title_fullStr	Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz
title_full_unstemmed	Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz
title_sort	gadamer on the event of art, the other, and a gesture toward a gadamerian approach to free jazz
publisher	University of Calgary
publishDate	2016
url	https://doaj.org/article/072767b59e024e90b0f0ce7da76769f9
work_keys_str_mv	AT cynthiarnielsen gadamerontheeventofarttheotherandagesturetowardagadamerianapproachtofreejazz
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Gadamer on the Event of Art, the Other, and a Gesture Toward a Gadamerian Approach to Free Jazz

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