Being-in-time to the music from the ground up is a work in phenomenology, where this term is broadly defined, comprehending Plato, Heidegger, Hegel, and Marx. The most direct referent is Hegel, together with the theoretical revolution that he initiated with Phenomenology of Mind. This textas more general purpose is to set the tone for a 21st communism based upon the idea of dancing with death, assuming full responsibility for oneas mortality, and abandoning the self to love as the meaning of existence. This dance is choreographed through my conversations with the above mentioned writers. In conversing with them I aim to displace (if not usurp) them from the throne of honour which is nothing more than the authority borrowed from me. By this I do not intend to deny completely their aother to mea character. However, they exist or even afigurea for me, both in the sense of of acount, a having importance, as those that I read, and by which I read myself. They have borrowed my authority, namely, my own potential to be an author. So areading them is to re-assume that borrowed authority. The life of the reader, to paraphrase Barthes, begins with the death of the author.... and so justice falls from having the reformation of character as its chief objective, to being the regulator of exchange of ... of my musical conception of reality, I now add its finishing pictorial touches with this concluding diagram: Chapter Oneanbsp;...
|Title||:||Being in Time to the Music|
|Author||:||David A. Ross|
|Publisher||:||Cambridge Scholars Publishing - 2008-12-18|