Reached from protohistoric Greece, in which μουσική, the art of singing that some men learned from the Muses, was the only source of knowledge, the notion of ῥυϑμός survived until Plato. The Greeks recognised as rhythm a special kind of form that allowed them to catch the essence of poetic art. Rather than a fixed form, ῥυϑμός was an ‘open way to transformation,’ an ‘opening to otherness’ that is very close to law and its foundation. The first aim of this contribution will be to restore the original meaning of the term ῥυϑμός and show its juridical nuances. Since the notion of rhythm is, however, part of a more recent history – particularly thanks to Henry Maldiney, who elaborated a real ‘Aesthetics of rhythms’– the second aim here will consist in an analysis of the Maldinian thought, in an attempt to provide a useful contribution to the field of Legal Aesthetics.
Ritmo e trasformazione. Sulla via dell’estetica giuridica
MITTICA, MARIA PAOLA
2017
Abstract
Reached from protohistoric Greece, in which μουσική, the art of singing that some men learned from the Muses, was the only source of knowledge, the notion of ῥυϑμός survived until Plato. The Greeks recognised as rhythm a special kind of form that allowed them to catch the essence of poetic art. Rather than a fixed form, ῥυϑμός was an ‘open way to transformation,’ an ‘opening to otherness’ that is very close to law and its foundation. The first aim of this contribution will be to restore the original meaning of the term ῥυϑμός and show its juridical nuances. Since the notion of rhythm is, however, part of a more recent history – particularly thanks to Henry Maldiney, who elaborated a real ‘Aesthetics of rhythms’– the second aim here will consist in an analysis of the Maldinian thought, in an attempt to provide a useful contribution to the field of Legal Aesthetics.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
