Archaeology and his break: the need for genealogy and the appearance of power relations in Michel Foucault thinking
Thana Mara de SOUZA, Bruno Abilio GALVÃO
Original title: A arqueologia e seu rompimento: a necessidade de uma genealogia e o aparecimento das relações de poder no pensamento de Michel Foucault
Published in Art, Criticism and Mysticism
Keywords: Archaeology, Genealogy, Knowledge, Speech, power.
Breaking the boundaries of archeology is the result of a long trajectory of Foucault’s thought that in L’Archéologie du savoir, becomes unable to analyze the new issues that arise: the subject and social grounds relating to the choices of themes and theories that make certain discourse. The question of the subject presented in archaeological history from the beginning, in Histoire de la Folie, linked to the concept of historical a priori, as it always refers to a “someone” involved in discursive practices. But the “social foundation” appears in L’archéologie du savoir when Foucault investigates the strategic formations of a speech. From that moment, to explain the emergence of knowledge linked with social practices in which the subject is inserted, Foucault opts for a genealogy of power. So the aim of our work is to show how the breaking of boundaries of archeology, a fact that drives Foucault to look at the thought of Nietzsche, genealogy as a method that provides continuing with their studies occurs. As we reach the archaeological limit Foucault entering his genealogical period, we will see the emergence of the issue of power and its relation to the discursive practices presented during the term of archeology.
The advent of solo ricercare in sixteenth century as a transposition of the voice in instrument: the discorso in Giovanni Bassano (c. 1560-1617)
Patricia Michelini AGUILAR
Original title: O advento do ricercare solista no século XVI como transposição da voz em instrumento: o discorso em Giovanni Bassano (c. 1560-1617)
Published in Music in Middle Ages and Early Modernity
Keywords: Bassano, Diminutions, Ricercare, Ricercata, Soggetto, Speech.
Throughout the sixteenth century, especially in some Italian cities, instrumental cult music began to develop with certain autonomy in relation to vocal music. The human voice was still considered the most expressive and perfect way for musical practice, but the instruments, constantly improved, became more valued, especially when they emulated the voice. In this paper we will demonstrate that the ricercare for melodic instruments came from the transposition of vocal into instrumental music. We begin with a brief history of this genre; we continue with a description of the main compositional procedures used at the time for vocal music, in order to find some paralells with the diminutions in Signor mio Caro (Cipriano de Rore) and with the Ricercate Terza and Quarta, musics from the manual Ricercate, passaggi et cadentie (Veneza, 1585), by Giovanni Bassano (c. 1560-1617). We try to demonstrate that Bassano uses certain devices present in vocal music of the period to create pieces that already indicate an instrumental character, such as the conscious choice of musical intervals and rhythmic figures for building soggetti (little themes) and subsequent development on virtuosic ornamentation. We conclude supposing that the lack of text on ricercatas does not eliminate the presence of a hidden voice, originated by pure intonation, without words that give it a literal meaning, but related to current expressions of some affetti.
