«Poetics of conversion»: Music as sensorial gnosis and the «musical turn» of philosophy according to Eugenio Trías
DOI:
https://doi.org/10.14422/pen.v76.i291.y2020.011Keywords:
Trías, music, symbol, ontology, imaginationAbstract
In this article the author analyzes in general the different levels of the Eugenio Trías’ understanding of music (as an artistic phenomenon), in order to discuss in more detail the philosophical arguments that constitute the theoretical basis for his approach of music as sensorial gnosis or poetics of conversion. To give an account of it, Trías coins the concept of «sound imagination», as the most excellent form of the faculty of «creative imagination», from which, on the other hand, its philosophical archaeology is collected, and from which it is about emphasizing both its symbolic dimension of suture, as well as its cognitive (in a metaphysical sense) dimension. This conception of music as sensory gnosis will allow him to demand a musical turn of philosophy, that can overcomes the «linguistic turn».
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