Theodor W. Adorno |

Theodor W. Adorno

Masanin falsafa na Jamus, masanin ilimin zamantakewa, masanin kiɗa da mawaki. Ya karanci abun da ke ciki tare da B. Sekles da A. Berg, piano tare da E. Jung da E. Steuermann, da kuma tarihi da ka'idar kiɗa a Jami'ar Vienna. A 1928-31 ya kasance editan mujallar kiɗa na Viennese "Anbruch", a cikin 1931-33 ya kasance mataimakin farfesa a Jami'ar Frankfurt. An kore shi daga jami'a da Nazis, ya yi hijira zuwa Ingila (bayan 1933), daga 1938 ya zauna a Amurka, a 1941-49 - a Los Angeles (ma'aikaci na Cibiyar Kimiyyar zamantakewa). Sa'an nan kuma ya koma Frankfurt, inda ya kasance malamin jami'a, daya daga cikin shugabannin Cibiyar Nazarin zamantakewa.

Adorno ƙwararren masani ne kuma ɗan jarida. Ayyukansa na falsafa da zamantakewa a wasu lokuta ma karatun kiɗa ne. Tuni a cikin labaran farko na Adorno (marigayi 20s) an bayyana ra'ayi mai mahimmanci na zamantakewar al'umma, wanda ya kasance mai rikitarwa, duk da haka, ta hanyar bayyanar da zamantakewar zamantakewa. A cikin shekarun ƙaura na Amirka, matuƙar ruhaniya na ƙarshe na Adorno ya zo, an kafa ƙa'idodinsa na ado.

A lokacin aikin marubuci T. Mann a kan labari Dokta Faustus, Adorno ya kasance mataimakinsa kuma mai ba da shawara. Bayanin tsarin kiɗan serial da suka a cikin babi na 22 na littafin, da kuma kalamai game da yaren kiɗan L. Beethoven, sun dogara ne gaba ɗaya akan nazarin Adorno.

Manufar ci gaban fasahar kiɗan da Adorno ya gabatar, nazarin al'adun Yammacin Turai ya keɓe ga adadin littattafai da tarin labaran: "Essay on Wagner" (1952), "Prisms" (1955), "Dissonances" (1956), "Gabatarwa ga ilimin zamantakewar kiɗa" (1962) da sauransu. A cikin su, Adorno ya bayyana a matsayin masanin kimiyya mai kaifi a cikin kima, wanda, duk da haka, ya zo ga yanke shawara game da makomar al'adun kiɗa na Yammacin Turai.

Da'irar sunaye masu ƙirƙira a cikin ayyukan Adorno yana iyakance. Ya fi mai da hankali kan aikin A. Schoenberg, A. Berg, A. Webern, da wuya ya ambaci mawaƙa masu mahimmanci. Kin amincewarsa ya kai ga duk mawaƙa ta kowace hanya da ke da alaƙa da tunanin gargajiya. Ya ƙi ba da ƙima mai kyau na kerawa har ma ga manyan mawaƙa kamar SS Prokofiev, DD Shostakovich, P. Hindemith, A. Honegger. Har ila yau, zargi nasa yana kaiwa ga avant-gardists na baya-bayan nan, wanda Adorno ya zarga don asarar dabi'ar harshe na kiɗa da kuma yanayin yanayin fasaha na fasaha, haɗin kai na lissafin lissafi, wanda a aikace yana haifar da hargitsi.

Tare da ma mafi girma implacability, Adorno kai farmaki da ake kira "jama'a" art, wanda, a cikin ra'ayi, bauta wa ruhaniya bautar da mutum. Adorno ya yi imanin cewa fasaha na gaskiya dole ne ya kasance cikin rikici akai-akai tare da yawan masu amfani da na'urorin ikon jihar da ke tsarawa da jagorantar al'adun hukuma. Koyaya, fasaha, wanda ke adawa da yanayin daidaitawa, ya zama, a cikin fahimtar Adorno, ya zama ɗan ƙima, mai ban tausayi, yana kashe mahimman hanyoyin kerawa a cikin kanta.

Wannan antithesis yana bayyana rufewa da rashin bege na kyakkyawan ra'ayin Adorno da ilimin zamantakewa. Falsafarsa ta al'ada tana da alaƙa da yawa tare da falsafar F. Nietzsche, O. Spengler, X. Ortega y Gasset. Wasu daga cikin tanadinsa an kafa su azaman martani ga "manufofin al'adun gargajiya" na 'yan gurguzu na ƙasa. Tsari-tsare da dabi'ar dabi'a na ra'ayin Adorno sun fito fili a cikin littafinsa The Philosophy of New Music (1949), wanda aka gina akan kwatancen aikin A. Schoenberg da I. Stravinsky.

Maganar Schoenberg, a cewar Adorno, yana haifar da tarwatsewar nau'in kiɗan, ga ƙin mawaƙa don ƙirƙirar "opus gama". Cikakken aikin fasaha na rufaffiyar, a cewar Adorno, ya riga ya gurbata gaskiya ta hanyar tsari. Daga wannan ra'ayi, Adorno ya soki tsarin neoclassicism na Stravinsky, wanda ake zargin yana nuna yaudarar sulhu na mutum da al'umma, yana mai da fasaha zuwa akidar ƙarya.

Adorno ya ɗauki fasaha mara kyau a matsayin dabi'a, yana tabbatar da kasancewarsa ta hanyar rashin mutuntaka na al'ummar da ta taso. Aikin fasaha na gaskiya a cikin gaskiyar zamani, a cewar Adorno, zai iya zama kawai bude "seismogram" na girgiza mai juyayi, sha'awar rashin hankali da motsin rai.

Adorno babbar hukuma ce a cikin fasahar kiɗan kiɗan yamma na zamani da ilimin zamantakewa, mai adawa da farkisanci kuma mai sukar al'adun bourgeois. Amma, suna sukar gaskiyar bourgeois, Adorno bai yarda da ra'ayoyin zamantakewa ba, sun kasance baƙo a gare shi. Halin ƙiyayya ga al'adun kiɗa na USSR da sauran ƙasashe masu ra'ayin gurguzu sun bayyana kansu a cikin wasan kwaikwayo da yawa na Adorno.

Rashin amincewarsa game da daidaitawa da kasuwanci na rayuwar ruhaniya yana sauti mai kaifi, amma kyakkyawan farkon tunanin Adorno da yanayin zamantakewa ya fi rauni, ƙasa da gamsarwa fiye da farkon mahimmanci. Yin watsi da akidar bourgeois na zamani da akidar gurguzu, Adorno bai ga wata hanya ta hakika ta fita daga ruhin ruhi da zamantakewa na hakikar burguzan zamani ba, kuma, a gaskiya ma, ya kasance a cikin riko na tunani da tunani na utopian game da "hanyar ta uku", game da wasu nau'ikan. "sauran" gaskiyar zamantakewa.

Adorno shine marubucin ayyukan kiɗa: romances da mawaƙa (zuwa rubutun S. George, G. Trakl, T. Deubler), guda don ƙungiyar makaɗa, shirye-shiryen waƙoƙin gargajiya na Faransanci, kayan aikin piano na R. Schumann, da dai sauransu.