Negation is not a pure rejection, there is no doubt that it is full of dialectical functions, pointing to some new possibility, and it is beyond experience in the encounter. In theology, this means that the path to holiness is recognized through the path of negation. The Jewish philosopher walter benjamin's "negative aesthetics" is based on the prohibition of loyalty to any secular salvation commitment and the hope of unloading teleology. In the dark ashes of history, the crying and pain of paradise lost are the negative signs of the arrival of the Messiah. The trace of divinity can only be found in its own complete negation.
Modern society is completely materialistic, and the materialization of language is an idolatry, which is explicitly prohibited in the Ten Commandments. It is no different from the materialization of language. Death is a complete division of meaning and matter. In Benjiamin's view, the mission of theology is to repair the rich symbols blocked in language. In the divine speech, almost revolutionary aesthetics really liberates people from death. Extremely, on the divine road of death, we are inspired by the cross incident. Only in the suffering with Christ can we enter death and gain life, and a black bird comes down. The suffering of the incarnation is the symbolic wealth to remove the materialization of language. For those of us who have lost their meaning, the death of Christ is to give up the overbearing material (physical) signifier under the melancholy gaze of fables, and the sacred speech is transformed from plane alienation to the power of life (resurrection).
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From the end of 18 century to the beginning of 19 century, German cultural talents came forth in large numbers, which was almost an "era of genius". Johann Wolfgang Goethe (1749- 1832), Friedrich von Schiller (1759- 1805), poet Friedrich hoddle Lin (1770-/kloc-0). 1770- 183 1), theologian Lech Machel (Friedrich Schleiermacher, 65433
When I came to Bonn on the Rhine, I was not interested in learning about Bonn, the temporary capital, but wanted to know more about Beethoven, the "Le Sheng" born here, and the German academic town Rheinische Friedrich-Wihelms-Universitaet, which studied Kant and Hegel's philosophy. Speaking of Bonn University, I soon thought that Karl Marx was a student here, and the theologian Bart also taught at this university, because he didn't shout out that Hitler's leader was expelled from his chair by the Nazis. It is said that when Napoleon captured Bonn, he ordered the statue of the Virgin Mary in the university building to be removed, and the rope of the carriage was broken ... and so on. Bonn is a beautiful and quiet city. Although it is the administrative center of Germany and the official residence of diplomatic envoys of various countries, it is not dry and vulgar. People are used to riding bicycles instead of walking. First, they can exercise. Second, they can avoid air pollution. There are bicycle lanes on the road, which give people of different classes the same respect. If I have the opportunity to do academic research in Germany, I expect Bonn to be a place worth considering.
Nearby, you can clearly see a Romanesque church (Minster) built in12nd century. Not far away, a large bronze statue of Beethoven stands in front of a building. From this bronze statue, we can see Beethoven's dark face, generous and short figure, messy hair, small and round nose, pen in hand and firm eyes. Beethovenhaus, located at No.20 Bourne Street, is the residence where Beethoven was born and raised. As early as 1889, this building was designated as the most important Beethoven Museum in the world. The museum displays a piano specially designed and manufactured by Vienna experts for Beethoven's ear diseases.
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Three masters of classical music: Haydn, Mozart and Beethoven. Haydn embodies the romantic understanding of human nature in human life, and his works have a higher degree of perceptual abstraction; Mozart pursued the magical things of superman who lived in the inner spirit; Beethoven's works arouse the infinite desire and the impulse to open the impossible door. The creation of all great artists is an instinctive impulse, and this unconscious impulse is because he feels some kind of oppressive force, as if he is dominated by this force, and he doesn't know it and can't resist it.
In this sense, I have such strong feelings for Beethoven's third symphony Hero. I intend to feel and comprehend the heroic victory of resurrection from my interpretation of Beethoven's Heroes. If Beethoven gave a heroic transcendence to the irresistible fate, then the resurrection of Christ from death is the victory of the ultimate fate of mankind-death, and issued a heroic victory cry. Hero is Beethoven's creation when he was in deep pain. This symphony shows the symbol of his victory after his death. The symphonies of classical music school neither face death directly, nor depict death. However, judging from the symphony of Hero, there are a lot of plots about death in the symphonies of Liao, Brahms, brukner and Mahler, and the appearance of the second movement of Hero, Funeral March, can be regarded as the initiator. In my research, I found that Mahler's keen awareness of death is unmatched by any great musician. Except for the first symphony "Giant", all his symphonies are devoted to this theme.
Hero was completed in 1804, which shows Beethoven's deep feelings and rich drama contrast. This song shows the whole process of victory from darkness to light. From the fierce battle of the first movement, it effectively led the audience to the final triumphant movement. This is a symphony with complex harmony, grand momentum, disharmony and harsh tone, which seems to declare war on an irresistible fate. The "funeral March" in the second movement is like the oppression near death, and people almost have to hold their breath to listen to it.
What makes musicians deaf more unbearable? Beethoven's ear disease was so painful that it almost declared the end of his musical career. As a musician, losing your hearing is like losing your sight. How can he endure fate without bowing to it? What does it mean that composers can't hear beautiful music? Beethoven regarded the cruel fact of deafness as a threat to life by death. In extreme grief and fear, he secretly wrote the famous Heiligen City Testament. Beethoven once said that he would end his life, live without hearing, and painfully push himself to the brink of despair. Just like a man who has lost everything, he has no right to ask about the hope of survival. For him as a musician, the fact of deafness is the fact that art interrupted, and art interrupted the life of creation, that is, the fact that he was divorced from life, that is, the fact of death. Does Beethoven have a reason to live without music? How can the imperfection of life make him continue to believe in art?
Fortunately, Beethoven's persistence in art and strong will made him out of the haze of pain. There is a will to survive in art. Under this will to survive, the protagonist of the symphony ignites the spark of life, erupts an unprecedented torrent of life and knocks on the door of romance. The first and second symphonies still retain the shadows of Haydn, Mozart or Bach, and what really made him break away from classicism and enter romanticism was Hero. Therefore, "Hero" is not only the death of Beethoven, but also the death of music history. The key is "negation", which is to show the aesthetics of life.
First of all, the first movement of Hero mainly depicts the image of a hero, which begins with a grand and brave chord, which is urgent and overwhelming, and reflects the hero's abundant and sharp will. The volume of the second movement is especially kept between extremely weak and weak. The bass cello forms an independent voice, and its timbre is deep and deep, creating a tragic and sad effect, which is almost suffocating, and the mood is sometimes sad and sometimes high. The second movement is the famous funeral March. The third movement gradually moved away from the problem of painful death, showing incomparable vitality and strength. The last movement, the fourth movement, takes the "Prometheus spirit" in Greek mythology as the theme, which gives full play to the indomitable spirit of the protagonist and turns short notes into a fire of hope. This is a talented artist's "War between Heaven and Man". The real hero in Hero is not Napoleon. (Press: Beethoven originally intended to give this symphony to Napoleon, whom he admired. However, as soon as he heard that Napoleon proclaimed himself emperor, he tore off the page with the dedication and rewritten it as "Dedicated to an unknown hero". Beethoven said: "Do as much good as possible, love freedom above all else, and never deny the truth, even in front of the king." The real hero should be Beethoven himself.
People familiar with Greek mythology must know that Prometheus was a hero who risked his life to steal skyfire and return it to the world. As a result, Zeus caught him and pecked his liver with an evil eagle to punish him. Perhaps Beethoven learned from Prometheus that music creation is like stealing fire, and today's deafness is the price of stealing fire. The greatness of a hero is that he can endure pain in order to survive. The more painful he is, the more persistent he is.
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The death of Jesus, for all the people who lived with him, was an instant loss and depression. He once gave people hope, and his disciples regarded him as the savior and messiah. But overnight, death took everything away, and it was tolerable to lose hope. But the question is how to face the courage to survive today? The silence of the hero on the cross is unbelievable. Everything he promised buried all the promises he made when he buried the grave, just like the pain he felt when he woke up from a dream. It turns out that all this is illusory. Jesus' dialogue about the "kingdom of heaven" immediately became ridiculous. The disability of the cross symbolizes irresistible death, even those who claim to be Christ, Messiah and Savior are not spared. The power of death is too great!
Christians' hope for life is their trust in Jesus' sermon. He once declared: "Resurrection is with me and life is with me. People who believe in me will come back to life even if they die. This means that there is hope when you are alive. Although death can take everything away, if death can be overcome, then the survival of life is meaningful. Resurrection is not the salvation of the distant shore, but also the final reward of heaven, because Jesus preached not to the dead but to the living. Conquer death to face survival, and witness the truth and value of life with survival. But what will the truth be?
Resurrection is the survival will of faith, which embodies freedom and frees people from despair. Any harm to freedom is harm to the resurrected faith; Resurrection is freedom from the fear of death, that is, freedom from all fears similar to death threats. The belief in art is lofty, and the belief in resurrection is to embody the possibility in the impossible. Christ's faith is the good news of resurrection. The weekly worship of Christians is to declare and witness the resurrection of Christ, and absolutely deny all forces that threaten survival. Through resurrection, people gained freedom; If we fail to reject all desperate factors, I am afraid we have not really entered the belief that resurrection is freedom.
The cross is an event of death, but it is a death that releases life. Death brings life. Without death, there is no life. Where there is life, there must be death, and death is to be alive. If you haven't tasted death, you have no chance to live. The event of resurrection is a witness to survival. Only the faith produced after complete despair can be counted as faith. Because death is a complete despair of life, only beyond death can there be hope of survival. The Danish philosopher Soren A. Kierkegaard (18 13- 1855) wrote such a meaningful sentence in his diary: "A cross should be built on the grave of all his hopes", which fully expressed the survival significance from despair to faith.
In order to steal the "fire of life", Jesus risked ten deaths of cowardice and ridicule. Facing the fear and anxiety of suffering and death, in love, compassion, sadness and strength, with lofty life value and dignity, we make a one-time and ultimate commitment to death and also make a fundamental and eternal victory over death. Coming back from the dead on the third day is the embodiment of the extraordinary ability of the "fire of life" The "funeral March" of the cross did not draw a rest. On the contrary, Jesus bravely crossed the critical point of death and went to the pupa road of life. It is unthinkable to be a deaf composer, but Beethoven did it; It is incredible to turn the death of the cross into the victory of resurrection, but Jesus made it possible. Beethoven gave a perfect performance in his music world. The fire of life ignited by the resurrection of Jesus gave people the courage and motivation to survive. Nothing can defeat our will to survive.
Death can be faced calmly, and God himself has been tortured by death. Therefore, no one can refuse the will to live, even if suffering, it is not enough to make the suffering bigger than God himself, or even bigger. Death is a mockery of life, and resurrection is a mockery of death. There is no binary logic here, but a dialectical relationship between the two. Resurrection is a declaration of freedom, and Easter is a holiday of freedom. If the most difficult problems in the world are overcome, there will be no big problems in the world that we can be afraid of.
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Beethoven's innovation in tonality was so radical that his contemporaries naturally covered their ears when they first heard his music. From harmony and rhythm to musical instruments, he broke the rules one by one in all musical forms. Beethoven controls reason with sensibility and restrains form with content. Some people describe Beethoven's music as "arousing people's feelings such as anxiety, fear, hatred or pain, so as to arouse endless desires in the depths of the soul." This is the true face of romanticism. "
Beethoven listened to music with his eyes, but we can see the resurrection with our spiritual eyes. In the world of music, sound is language. In fact, music is a language other than language. In other words, the world opened by faith is a real world beyond language. This world has nothing to do with cognition, but with experience. If we say that "music should touch people's souls, but we should listen and understand with wisdom", shouldn't the resurrected faith be the same?
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Modern people give up their sober criticism of the existing order in the materialization of language and their mysterious belief in beautiful things, which means that people have lost contact with the eternal unconscious and hope of getting rid of the physical predicament. Christ believed in the eschatological promise of resurrection through the body and accepted death as a part of life. It is here that the cross of Christ and the theft of fire by Prometheus are two different opportunities. Prometheus' body has become hopeless of punishment, abuse and pain, but Christ has brought people courage and hope in the resurrection of the body.
Adorno said: "On the whole, death is an expressionless and dark eye socket, which is related to the most indulgent expression-grinning." Christ's attitude towards death did not fall into pessimistic denial or fear of death. The belief in the resurrection of Christ rejects and resists Plato's hostility to the body precisely because it affirms and believes that eternal life can only exist in the body. Christian asceticism can punish the guilty body to a degree that Plato can't catch up with, but the hope of eschatology of Christ is to save the guilty body. Negation has become a dialectical transcendence in the death and resurrection of Christ and the hope of eschatology.