{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-QXTFOQVF/4831bb59-dd50-47aa-b755-fd117e7bf2b4/HTML","dcterms:extent":"50 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-QXTFOQVF/ae4f4767-2a40-4a9e-9c02-67bcc78803b0/PDF","dcterms:extent":"284 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-QXTFOQVF/7b6876f0-b1ce-4fa4-bd1c-a2b10ba60f91/TEXT","dcterms:extent":"47 KB"}],"edm:TimeSpan":{"@rdf:about":"1965-2025","edm:begin":{"@xml:lang":"en","#text":"1965"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-QXTFOQVF","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-TGP90WRZ"},{"@xml:lang":"sl","#text":"Muzikološki zbornik"}],"dcterms:issued":"2007","dc:creator":"Bielefeldt, Christian","dc:format":[{"@xml:lang":"sl","#text":"številka:2"},{"@xml:lang":"sl","#text":"letnik:43"},{"@xml:lang":"sl","#text":"str. 251-263"}],"dc:identifier":["ISSN:0580-373X","COBISSID:36309346","URN:URN:NBN:SI:doc-QXTFOQVF"],"dc:language":"de","dc:publisher":{"@xml:lang":"sl","#text":"Filozofska fakulteta, Oddelek za muzikologijo"},"dc:subject":[{"@xml:lang":"sl","#text":"estetika glasbe"},{"@xml:lang":"sl","#text":"glasba"},{"@xml:lang":"sl","#text":"Henze, Hans Werner, 1926-"},{"@xml:lang":"sl","#text":"komunikativnost glasbe"},{"@xml:lang":"en","#text":"music"},{"@xml:lang":"sl","#text":"psihoanaliza"}],"dcterms:temporal":{"@rdf:resource":"1965-2025"},"dc:title":{"@xml:lang":"sl","#text":"\"Nenavadni, nežni čutni dražljaji\"| \"Unusual, gentle sensory stimuli\"| a psychoanalytical path to the early aesthesis of Hans Werner Henze| psihoanalitske poti v zgodnji estetiki glasbe Hansa Wernerja Henzeja|"},"dc:description":[{"@xml:lang":"sl","#text":"Musicology and psychoanalysis still face each other strangely. Yet, there are quite fruitful initiatives for dealing with musical phenomena from a psychoanalytical perspective, as this article tries to show with the example of the early music aesthetics of Hans Werner Henze. Led by the Lacanian model of imaginary-symbolic-real, Henzes texts from the 1950s are read in a way in which the aesthetics \"of a free, wild sound\" is linked to the requirement of music being communicative. Musical communication is understood thereby differently as in the later, politically engaged phase of Henze. It is still understood as an excessive moment of the conventional auditive signs, in which listener dissolves the traditionally fixed senses. With Lacan, this situation of hearing may be described as a musical representation of the 'I', which is fundamentally more unstable than linguistic self-representations, leading consequently toward an enjoyment as a condition of temporary self-loss"},{"@xml:lang":"sl","#text":"Muzikologija in psihoanaliza sta do danes ostali tujki med seboj, čeprav obstajajo plodni nastavki za vključevanje glasbenih pojavov v psihoanalitsko perspektivo, kot skuša prikazati prispevek o estetiki glasbe Hansa Wernerja Henzeja. Izhajajoč iz Lacanovega modela o treh ravneh mišljenja - o imaginarnem, simbolnem in realnem - besedilo obravnava Henzejeva besedila iz petdesetih let 20. stoletja: bere jih tako, da estetiko svobodnega, divjega zvoka navezuje na zahtevo po komunikativnosti glasbe. Glasbena komunikacija je tu - za razliko od kasnejše, politično naravnane faze - še vedno pojmuje kot trenutek preseganja konvencionalnega zvočnega znamenja, v katerem poslušalec opušča podedovane utrjenosti smisla. Z Lacanom je mogoče opisati te poslušalske situacije kot reprezentacije substanc \"Jaza\", ki se kaže kot veliko manj stabilnega v primerjavi s samoreprezentacijami, in zato odpira pot užitku kot stanju začasne samopozabe"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-QXTFOQVF","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-QXTFOQVF"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-QXTFOQVF/ae4f4767-2a40-4a9e-9c02-67bcc78803b0/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Univerza v Ljubljani, Filozofska fakulteta"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-QXTFOQVF/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-QXTFOQVF"}}}}