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Edmund Husserl and Eugen FinkBeginnings and Ends in Phenomenology, 1928-1938$
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Ronald Bruzina

Print publication date: 2004

Print ISBN-13: 9780300092097

Published to Yale Scholarship Online: October 2013

DOI: 10.12987/yale/9780300092097.001.0001

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Critical-Systematic Core: The Meontic—in Methodology and in the Recasting of Metaphysics

Critical-Systematic Core: The Meontic—in Methodology and in the Recasting of Metaphysics

Chapter:
(p.375) 7 Critical-Systematic Core: The Meontic—in Methodology and in the Recasting of Metaphysics
Source:
Edmund Husserl and Eugen Fink
Author(s):

Ronald Bruzina

Publisher:
Yale University Press
DOI:10.12987/yale/9780300092097.003.0007

This chapter discusses music as the Play of Being in its closest coming to that Absolute of Transcendent Form, the Absolute that lies originative in the coursing of humanity's living its world. It can be argued that the very movement of music is the flow of temporality in both its insistent thrust onward and its carrying of a complex sonority that itself shifts and thickens in the interweaving time. For Husserl, however, the sourcing to be traced in a human being's own consciousness was that which would unfold the world more as if through articulate gaze than in the productive making of sound. Even Fink did not believe that it was in a primordial singing that the act of cosmogony could be discerned, though as he moved to the metaphysics of play he might be thought closer to such an idea than Husserl.

Keywords:   music, Play of Being, Absolute of Transcendent Form, flow of temporality, complex sonority, cosmogony

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