{"id":9349,"date":"1995-01-01T00:00:00","date_gmt":"1995-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1995\/01\/01\/el-instinto-musical-de-la-razon-hegeliana\/"},"modified":"1995-01-01T00:00:00","modified_gmt":"1995-01-01T00:00:00","slug":"el-instinto-musical-de-la-razon-hegeliana","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-instinto-musical-de-la-razon-hegeliana\/","title":{"rendered":"\u00abel instinto musical de la razon hegeliana\u00bb."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda Yolanda Espi\u00f1a Campos <\/strong><\/h2>\n<p>En este trabajo se investigan los elementos especulativos de la musica en el desarrollo del sistema de la filosofia, en el marco de una consideracion del tiempo y de la temporalidad del espiritu, desde el punto de vista de la identidad. La consideracion general de la razon desde el punto de vista de la dialectica finitud-infinitud, y la consideracion del arte, entendido desde la dialectiva armonia-identidad, fundamentan el planteamiento de la razon musical desde la consideracion del numero y su implicacion en la superacion progresiva de la exterioridad del espiritu, apareciendo ambos elementos escindidos todavia en el espiritu griego. La articulacion musical de la interioridad, en el marco de la unidad constitutiva del espiritu subjetivo, cuyo punto central es la intuicion, fundamenta la consideracion de la musica desde el punto de vista de su forma o poder elemental y de su contenido o poder efectivo. La conclusion del trabajo inscribe la musica en el absoluto como la forma adecuada del arte a la identidad plena del espiritu: expresividad actual de la temporalidad del absoluto.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>\u00abel instinto musical de la razon hegeliana\u00bb.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 \u00abel instinto musical de la razon hegeliana\u00bb. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda Yolanda Espi\u00f1a Campos <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Navarra<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1995<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Rafael Alvira Dominguez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Alejandro Llano Cifuentes <\/li>\n<li>Nicolas Grimaldi (vocal)<\/li>\n<li>Ramon Valls Plana (vocal)<\/li>\n<li>Juan Cruz Cruz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Yolanda Espi\u00f1a Campos En este trabajo se investigan los elementos especulativos de la musica en el 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