This dissertation examines the revival of interest in interplay of music and mystery in post-1945 France, revisiting but also reconfiguring recent debates on the merits of the ineffable in music. The framework of my project brings into focus, amidst post-WWII French philosophies of music, what can be seen as two polar regions of mysteriology. At one end, there is the musicologist Gisèle Brelet, who employs the conventional terms of epistemology constructing what amounts to a metaphysics of music. At the other, there is the philosopher Vladimir Jankélévitch, who seeks to expose at every turn the ultimate metaphoricity of any such metaphysics, advocating a radical re-creation of his subject matter in the process of reflecting on it.ududAs I show, however dissimilar, these approaches subsisted on, as well as marked the limits of, a broader intellectual milieu—that of an existential phenomenology committed to studying the intentionality of conscious experience. The Introduction discusses contemporaneous philosophical, and Chapter 1 traces historical, underpinnings of the new urge to register the aesthetic experience of music as “ontological mystery,” an experience hinging on a variety of modes of awareness of an Other. When approached via musical sound, the question of the Other becomes a problem of time—the medium through which the experience of the Other happens.ududBoth Brelet and Jankélévitch posited, albeit in differing ways, that through music we become conscious of a time that is other than the way in which we experience time in our ordinary lives. In phenomenology, the Other can take various, but related forms—most commonly, it is the alterity of another consciousness, of the world in-itself, or of history. Chapters 2–4 explore in turn each of these forms and their corresponding temporalities as they appear in the work of Jankélévitch and Brelet. Chapter 2 centers on the mystery of intra-human and inter-human time, of time within and between subjects. Chapter 3 addresses the mystery of ecological time, or the temporal relationship between human beings and the natural world. Chapter 4 investigates the mystery of historical time and its manifestations in the dialectics of music.
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机译：本论文考察了1945年后法国对音乐与神秘互动的兴趣的复兴，重新审视并重新构造了关于音乐中不可言喻的优点的近期辩论。在第二次世界大战后的法国音乐哲学之中，我的项目框架成为人们关注的焦点，这可以看作是神秘学的两个极地地区。一方面，有一位音乐学家吉赛尔·布雷莱特（Gisele Brelet），他运用认识论的传统术语来建构相当于音乐的形而上学的东西。另一方面，有一个哲学家弗拉基米尔·扬克勒维奇（VladimirJankélévitch）试图动expose揭露任何这种形而上学的最终隐喻，主张在反思的过程中对其主题进行彻底的重新创作。但是，尽管这些方法不尽相同，但这些方法仍然存在并标志着更广泛的智力环境的局限性，后者是致力于研究意识体验的意图性的生存现象学的范围。引言部分讨论了当代哲学，而第一章则追溯了将音乐的审美体验记录为“本体论之谜”的新冲动的历史基础，这种体验依赖于对另一种意识的多种认识。当通过音乐声音来解决时，“他者”的问题就变成了时间问题，即发生“他者”体验的媒介。 ud ud布雷特和扬克勒维奇都提出了不同的看法，即通过音乐，我们意识到了时间不是我们平常生活中体验时间的方式。在现象学中，“他人”可以采取各种不同但相关的形式，最常见的是另一种意识，自身世界或历史的改变。第2章至第4章依次探讨了每种形式及其在Jankélévitch和Brelet的著作中出现的时间性。第2章围绕人与人之间的时间之谜，主题之间以及主题之间的时间之谜。第三章探讨了生态时间的奥秘，即人类与自然世界之间的时间关系。第四章探讨了历史时间的奥秘及其在音乐辩证法中的表现。
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