« A Walk in the Woods of Music »
John Cage’s musical and poetic practice is characterized by his rejection of mimesis. While this reflects his attachment to a type of artistic modernity pioneered by Mallarmé, as Derrida argues in « La Double Séance », Cage appears no less determined to challenge the very idea of writing : since the...
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2013
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | John Cage’s musical and poetic practice is characterized by his rejection of mimesis. While this reflects his attachment to a type of artistic modernity pioneered by Mallarmé, as Derrida argues in « La Double Séance », Cage appears no less determined to challenge the very idea of writing : since the letter is seen as fundamentally indeterminate, it no longer unambiguously belongs to language, yet it cannot be reduced to an immanent, meaningless presence. In the last analysis, Cage thus substitutes, for the traditional hermeneutics of reading, an aesthetics and an ethics of « conviviality » : the point is to let the subject and the inscription exist together, while preventing their proximity from giving rise to an activity of thought and re-presentation likely to restore the authority of mimesis. |
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