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Cioran și muzica
Muzica este una din referințele esenţiale în viața şi opera lui Cioran. O prezenţă constantă, inalterabilă. De la prima până la ultima sa carte, Cioran dedică muzicii pagini exaltate, judecăţi fără recurs, sintagme inspirate. Filozofia însăși, sustrăgându-se oricărui sistem, se acordează muzicii, deopotrivă ontologic și epistemologic.
Antologia urmăreşte aşezarea „fragmentelor muzicale“ din opera lui Cioran într-o carte care să-l fi putut tenta pe autorul Tratatului de descompunere, lectură în cheie muzicală a disperărilor și scepticismului lui.
Ediţie îngrijită de: Vlad Zografi
Selectia textelor: Aurel Cioran
Antologia urmăreşte aşezarea „fragmentelor muzicale“ din opera lui Cioran într-o carte care să-l fi putut tenta pe autorul Tratatului de descompunere, lectură în cheie muzicală a disperărilor și scepticismului lui.
Ediţie îngrijită de: Vlad Zografi
Selectia textelor: Aurel Cioran
- GenresPhilosophy
126 pages, Paperback
First published January 1, 1996
2 people are currently reading
106 people want to read
About the author
Emil M. Cioran
179 books4,342 followersBorn in 1911 in Rășinari, a small village in the Carpathian Mountains of Romania, raised under the rule of a father who was a Romanian Orthodox priest and a mother who was prone to depression, Emil Cioran wrote his first five books in Romanian. Some of these are collections of brief essays (one or two pages, on average); others are collections of aphorisms. Suffering from insomnia since his adolescent years in Sibiu, the young Cioran studied philosophy in the “little Paris” of Bucarest.
A prolific publicist, he became a well-known figure, along with Mircea Eliade, Constantin Noïca, and his future close friend Eugene Ionesco (with whom he shared the Royal Foundation’s Young Writers Prize in 1934 for his first book, On the Heights of Despair).
Influenced by the German romantics, by Schopenhauer, Nietzsche, and the Lebensphilosophie of Schelling and Bergson, by certain Russian writers, including Chestov, Rozanov, and Dostoyevsky, and by the Romanian poet Eminescu, Cioran wrote lyrical and expansive meditations that were often metaphysical in nature and whose recurrent themes were death, despair, solitude, history, music, saintliness and the mystics (cf. Tears and Saints, 1937) – all of which are themes that one finds again in his French writings. In his highly controversial book, The Transfiguration of Romania (1937), Cioran, who was at that time close to the Romanian fascists, violently criticized his country and his compatriots on the basis of a contrast between such “little nations” as Romania, which were contemptible from the perspective of universal history and great nations, such as France or Germany, which took their destiny into their own hands.
After spending two years in Germany, Cioran arrived in Paris in 1936. He continued to write in Romanian until the early 1940s (he wrote his last article in Romanian in 1943, which is also the year in which he began writing in French). The break with Romanian became definitive in 1946, when, in the course of translating Mallarmé, he suddenly decided to give up his native tongue since no one spoke it in Paris. He then began writing in French a book that, thanks to numerous intensive revisions, would eventually become the impressive 'A Short History of Decay' (1949) -- the first of a series of ten books in which Cioran would continue to explore his perennial obsessions, with a growing detachment that allies him equally with the Greek sophists, the French moralists, and the oriental sages. He wrote existential vituperations and other destructive reflections in a classical French style that he felt was diametrically opposed to the looseness of his native Romanian; he described it as being like a “straight-jacket” that required him to control his temperamental excesses and his lyrical flights. The books in which he expressed his radical disillusionment appeared, with decreasing frequency, over a period of more than three decades, during which time he shared his solitude with his companion Simone Boué in a miniscule garret in the center of Paris, where he lived as a spectator more and more turned in on himself and maintaining an ever greater distance from a world that he rejected as much on the historical level (History and Utopia, 1960) as on the ontological (The Fall into Time, 1964), raising his misanthropy to heights of subtlety (The Trouble with being Born, 1973), while also allowing to appear from time to time a humanism composed of irony, bitterness, and preciosity (Exercices d’admiration, 1986, and the posthumously published Notebooks).
Denied the right to return to Romania during the years of the communist regime, and attracting international attention only late in his career, Cioran died in Paris in 1995.
Nicolas Cavaillès
Translated by Thomas Cousineau
A prolific publicist, he became a well-known figure, along with Mircea Eliade, Constantin Noïca, and his future close friend Eugene Ionesco (with whom he shared the Royal Foundation’s Young Writers Prize in 1934 for his first book, On the Heights of Despair).
Influenced by the German romantics, by Schopenhauer, Nietzsche, and the Lebensphilosophie of Schelling and Bergson, by certain Russian writers, including Chestov, Rozanov, and Dostoyevsky, and by the Romanian poet Eminescu, Cioran wrote lyrical and expansive meditations that were often metaphysical in nature and whose recurrent themes were death, despair, solitude, history, music, saintliness and the mystics (cf. Tears and Saints, 1937) – all of which are themes that one finds again in his French writings. In his highly controversial book, The Transfiguration of Romania (1937), Cioran, who was at that time close to the Romanian fascists, violently criticized his country and his compatriots on the basis of a contrast between such “little nations” as Romania, which were contemptible from the perspective of universal history and great nations, such as France or Germany, which took their destiny into their own hands.
After spending two years in Germany, Cioran arrived in Paris in 1936. He continued to write in Romanian until the early 1940s (he wrote his last article in Romanian in 1943, which is also the year in which he began writing in French). The break with Romanian became definitive in 1946, when, in the course of translating Mallarmé, he suddenly decided to give up his native tongue since no one spoke it in Paris. He then began writing in French a book that, thanks to numerous intensive revisions, would eventually become the impressive 'A Short History of Decay' (1949) -- the first of a series of ten books in which Cioran would continue to explore his perennial obsessions, with a growing detachment that allies him equally with the Greek sophists, the French moralists, and the oriental sages. He wrote existential vituperations and other destructive reflections in a classical French style that he felt was diametrically opposed to the looseness of his native Romanian; he described it as being like a “straight-jacket” that required him to control his temperamental excesses and his lyrical flights. The books in which he expressed his radical disillusionment appeared, with decreasing frequency, over a period of more than three decades, during which time he shared his solitude with his companion Simone Boué in a miniscule garret in the center of Paris, where he lived as a spectator more and more turned in on himself and maintaining an ever greater distance from a world that he rejected as much on the historical level (History and Utopia, 1960) as on the ontological (The Fall into Time, 1964), raising his misanthropy to heights of subtlety (The Trouble with being Born, 1973), while also allowing to appear from time to time a humanism composed of irony, bitterness, and preciosity (Exercices d’admiration, 1986, and the posthumously published Notebooks).
Denied the right to return to Romania during the years of the communist regime, and attracting international attention only late in his career, Cioran died in Paris in 1995.
Nicolas Cavaillès
Translated by Thomas Cousineau
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Displaying 1 - 12 of 12 reviews
October 31, 2021
"E greu de știut la ce face apel în noi muzica; ce este sigur e că ajunge într-o zonă atât de profundă, încât însăși nebunia n-ar putea să pătrundă până acolo."
"Nu există boală de care nu ne-ar vindeca o lacrimă ce-ar începe să cânte ..."
"Fără femeie - muzică rătăcită-n carne -, viața ar fi o sinucidere automată."
"Nu există boală de care nu ne-ar vindeca o lacrimă ce-ar începe să cânte ..."
"Fără femeie - muzică rătăcită-n carne -, viața ar fi o sinucidere automată."
This entire review has been hidden because of spoilers.
April 6, 2023
„Aș vrea ca adevărurile să fie purtate pe armonii mozartiene, pe echivalentul sonor al parfumului de roze. Cum ele, însă, n-au nici o tonalitate și nici o rezonanță, pot fi primite și așa reci, cum sunt, într-un suflet pustiu. ...Și apoi adevărurile ar trebui să fie ușoare, să nu cântărească lucrurile, pentru a nu ne mai cădea ca greutăți în inimă.”
December 30, 2023
"Ești salvat prin chiar faptul că te agăți de muzică. În ce mă privește, am băgat de seamă că perioadele în care muzica nu m-a interesat au fost și cele mai pustii, mai mizerabile. Cuvintele nu sunt de ajuns și am o adevărată milă pentru sclavii limbajului".
"Sunt inimi a căror muzică de s-ar concentra într-un trăsnet sonor, viața ar începe de la capăt. De-am ști atinge coarda cosmogonică a fiecărei inimi..."
"Sunt inimi a căror muzică de s-ar concentra într-un trăsnet sonor, viața ar începe de la capăt. De-am ști atinge coarda cosmogonică a fiecărei inimi..."
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December 30, 2021extrase referitoare la muzică din cărțile lui Cioran. dacă ai citit 4-5 de la el probabil că le știi pe majoritatea. merită dacă ești fan
March 31, 2025
Am o inima în mi minor...Omul nu trebuie sa fie deprimat cu măsură, ci melancolic până la exces, extrem de deprimat.
April 25, 2022
Minunată carte; de o sensibilitate grațioasă.
"De ce în melancolie ne revin melodii uitate? Oare numai ca să măsurăm prin ele cât a murit din noi? Nu ne trezesc melancoliile în amintire locurile unde au fost fericite sau presimțirile de fericire? Otrava delicioasă a melancoliei..."
"De n-am fi avut suflet, ni l-ar fi creat muzica."
"De ce în melancolie ne revin melodii uitate? Oare numai ca să măsurăm prin ele cât a murit din noi? Nu ne trezesc melancoliile în amintire locurile unde au fost fericite sau presimțirile de fericire? Otrava delicioasă a melancoliei..."
"De n-am fi avut suflet, ni l-ar fi creat muzica."
November 26, 2019
Viziunea lui Cioran asupra muzicii clasice este poarta spre lumea fascinantă a filosofiei moderne. Scurtă antologie de texte culese din mai multe lucrări; dar de o importanță deosebită pentru al înțelege mai bine pe Cioran.
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September 26, 2021,,(…) în muzică însă toate sunt atât de departe și atât de aproape.” cine-ți vorbește mai frumos decât Cioran despre muzică?
February 9, 2024
"Muzica e refugiul sufletelor pe care le-a rănit fericirea."
August 22, 2024
" As fi putut sa exprim tot ce ma frământă dacă n-aș fi purtat stigmatul de a nu fi muzician. "
July 30, 2019
Foarte repetitivă. Probabil nu e o carte de citit de la un capăt la altul, nu cred că a fost scrisă pentru asta, dar mie așa îmi place să citesc orice. Nu cred, sincer, că era necesară crearea acestei cărți. Arată totuși într-adevăr obsesia, marea dragoste a lui Cioran pentru muzică. Mi se pare cam pretențios. Dar poate asta se poate spune despre filosofi în general și eu nu îi citesc de obicei. Per total nu mi se pare că ratam nimic necititnd cartea asta.
February 21, 2023
INCREDIBILĂ!!!
Cartea se simte ca un cântec de leagăn care te calmează și îți demonstrează că fără muzică doar exiști, nu trăiești.
Cartea se simte ca un cântec de leagăn care te calmează și îți demonstrează că fără muzică doar exiști, nu trăiești.
Displaying 1 - 12 of 12 reviews