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Philosophie de la nouvelle musique by Adorno Th W

By Adorno Th W

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351. 137 L owrie in Kierkegaard, The C oncept of Dread, Preface, p. viii. 138 Kierkegaard, Works of L ove, p. 47. 139 Quoted in Works of L ove, p. 46. 140 The moment, certain and secure in Repetition In keeping with Kierkegaard’s method of unfolding concepts through stages, the concept of repetition is so developed in his work of that name. The three types of repetition, A , B and C, are ‘constantly duped’ by one another, they fluctuate between each other even as they progress toward the fullest meaning of the concept.

Described by Haufniensis as: ‘a sympathetic antipathy and an antipathetic sympathy’,76 this double move cannot be overcome by ‘mediation’, Kierkegaard says, referring to Hegel’s concept. ‘Philosophy mediates, Christianity has the paradox’,77 philosophy would explain away the paradox, the wonder, and the moment and this should be resisted. 78 The Hongs note79 Kierkegaard’s change of word for ‘wonder’ from Vidunderet to B eundring here. B eundring literally means ‘admiration’ from 71 R udolph O tto, in Das Heilige [The Idea of the Holy] (1923), calls the moment: ‘the subjective time equivalent of the encounter with the numinous’ which refers to being filled with both awe and dread, a holy terror in the face of an object of worship.

128 In his conscious life man is unaware of his great need, as Haufniensis says, ‘the spirit in man is dreaming’,129 he therefore suffers a vague but pervasive foreboding. This unawareness is not oblivion for Being unconsciously cries out for spirit, he yearns for some undefined thing which he is anxious not to miss before having the chance to grasp it. Kierkegaard’s psychology has an ‘eternal component’:130 the spirit which lays within him waiting to be awoken, and this in itself is the source of anxiety.

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