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SÜRREALİST ESTETİĞE ERKEN BİR DENEYİM: BAHAR AYİNİ'Nİ YENİDEN DÜŞÜNMEK

Year 2025, Volume: 30 Issue: 59, 29 - 71, 25.07.2025

İsmail Hakkı Burdurlu

https://doi.org/10.20519/divan.1585977

Abstract

Bu çalışma Bahar Ayini’ni modernist müziğin yapısal ve estetik sınırlarını zorlayan bir eser olarak ele almakta ve özgül biçimsel ve ritmik düzenlemeleri üzerinden sürrealist estetikle potansiyel yankılarını incelemektedir. Müzik–sanat ilişkisi, doğrusal tarihsel sürekliliğe dayandırılmaksızın, gecikmeli ve kesişimsel yeniden belirişler tarafından şekillenen bir estetik hafıza alanı olarak kavramsallaştırılmaktadır. Bahar Ayini ile sürrealist estetik arasındaki geçiş alanı, doğrudan bir aidiyet iddiasında bulunmaksızın, psikanaliz, müzik-estetik kuramları ve felsefi yansıtım yoluyla çerçevelenmektedir; amaç, bilinçdışı süreçlerle müzikal form arasındaki yankısal etkileşimi araştırmaktır. Bu bağlamda ritmik ve biçimsel yapılar, estetik ve psişik gerilimin yüzeyleri olarak yorumlanmaktadır. Somatheme kavramından hareketle yapılan çözümleme, bilinçdışı itkilerin ritmik yapılarda nasıl iz bırakabileceğini takip eder. Disiplinlerarası bir yaklaşımla çalışma, modernite ve onun kültürel artalanı bağlamında müzikal form ve anlam üzerine düşünmenin alternatif bir yolunu sunmaktadır.

Keywords

Modernite Psikanaliz Diyalektik Estetik Somathemes

References

  • Adorno, T. Philosophy of Modern Music. New York: Seabury Press, 1973.
  • Adorno, T. “Looking back on surrealism.” Notes to literature vol. 1, 88-104. New York: Columbia University Press, 1991.
  • Adorno, T. “Stravinsky and the restoration.” Philosophy of new music, ed. R. Hullot-Kentor, 103-158, Minneapolis: University of Minnesota Press, 2006.
  • Adorno, T. Negatif Diyalektik. Trans. T. Bora. İstanbul: Metis Yayınları, 2016.
  • Andreev, Artem A. “Surreal and futuristic trends in parascientific works.” Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 143-151. https://doi.org/10.37816/2073-9567-2021-62-143-151.
  • Apostolopoulou, Georgia. “From ancient Greek logos to European rationality,” Wisdom 7 (2016): 118-130.
  • Barak, Nefise. “Immanuel Kant’ın Saf Aklın Eleştirisi Eserinde Diyalektik Kavrayışı.” Ethos 13 (2020): 36-52.
  • Barale, Francesco, & Minazzi, Vera. “Off the beaten track: Freud, sound and music. Statement of a problem and some historico-critical notes,” The International Journal of Psychoanalysis 89 (2008): 937-957.
  • Barthes, R. The responsibility of forms (Trans. R. Howard). California: University of California Press, 1991.
  • Boulez, Pierre. “Stravinsky demeure.” Musique Russe vol. 1, ed. R. Hullot-Kentor, 151-224. Paris: Bibliotheque Internationale de Musicologie, 1953.
  • Breton, Alfred. Sürrealist manifestolar. Trans. Y. Kafa, A. Günebakanlı, & A. Güngör. İstanbul: Altıkırkbeş Yayınları. 2009.
  • de Assis, Paulo. “Rasch24: The somatheme.” Artistic research in music: Discipline and resistance, ed. J. Impett, 15-43. Leuven: Leuven University Press. 2017.
  • De Matteis, Adirano, & Haus, Goffredo. “Formalization of generative structures within Stravinsky's The Rite of Spring.” Journal of New Music Research 25 (1996): 47-76.
  • DeNora, Tia. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press, 2003.
  • Forte, Allen. The harmonic organization of the Rite of Spring. New Haven: Yale University Press, 1978.
  • Freud, Sigmund. “The Ego and the Id.” The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. & trans. J. Strachey, 12–66. London: Hogarth Press, 1923.
  • Freud, Sigmund. The Uncanny. Trans. D. Mclintock. London: Penguin Books, 2003.
  • Freud, Sigmund. Totem ve Tabu. Trans. Z. A. Yılmazer. İstanbul: Türkiye İş Bankası Kültür Yayınları, 2020.
  • Gardner, Howard. Creating minds: An anatomy of creativity seen through the lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi. New York: Basic Books, 2011.
  • Gauss, Charles E. The aesthetic theories of French artists: From realism to surrealism. Baltimore: The John Hopkins Press, 1966.
  • Hess, M. Whitcomb. “Space and time in music.” The Open Court 10 (1927): 596-600.
  • Hill, Peter. Stravinsky: The Rite of Spring (Cambridge music handbooks). Cambridge: Cambridge University Press, 2000.
  • Hodges, Donald. A., & Sebald, David. C. Music in the human experience: An introduction to music psychology. New York: Routledge, 2011.
  • Järvinen, Hanna. “Great horizons flooded with the alien light of the sun: Le Sacre du Printemps in the Russian context.” Dance Research: The Journal of the Society for Dance Research 31 (2013): 1-28. Jung, Carl G. “On the relation of analytical psychology to poetry,” The spirit in man, art, and literature vol. 15, eds. G. Adler & R. F. C. Hull, 65-83. New York: Bollingen Foundation, 1966.
  • Kant, Immanel. Saf aklın eleştirisi. Trans. N. Pektaş. İstanbul: Gece Kitaplığı, 2022.
  • Ketenci, Taşkıner. “Kant felsefesinde metafizik ve insan doğası.” Kaygı: Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi 4 (2005): 92-103.
  • Kitcher, Paul. “Kant’s philosophy of the cognitive mind.” The Cambridge companion to Kant and modern philosophy, ed. P. Guyer, 169-202. Cambridge: Cambridge University Press, 2006.
  • Langer, Susanna K. Philosophy in a new key: A study in the symbolism of reason, rite, and art. Harvard: Harvard University Press, 1954.
  • Lourié, Arthur & Pring, S. W. “The Russian school.” The Musical Quarterly 18 (1932): 519-529.
  • Malt, Johanna. “The surrealist object in theory.” Obscure objects of desire: Surrealism, fetishism, and politics, ed. J. Malt, 76-112. Oxford: Oxford University Press, 2004.
  • Melly, George. Paris and the surrealists. New York: Thames and Hudson Inc, 1991.
  • Michels, Ulrich. & Vogels, Gunther. Müzik Atlası. İstanbul: Alfa Basım Yayım, 2021.
  • Morgan, Robert. “Musical time/musical space.” Music theory, analysis, and society: Selected essays, ed. R. Morgan, 101-114. New York: Routledge. 2015.
  • Móricz, Klara. In Stravinsky's orbit: Responses to modernism in Russian Paris (Vol. 26). Berkeley: University of California Press, 2020.
  • Neff, Severine, Carr, Maureen, Horlacher, Gretchen, & Reef, John, eds. The Rite of Spring at 100. Bloomington: Indiana University Press, 2017.
  • Nema, Nitansha. “Psychology in art: The influence of Freudian theories on surrealist art.” International Journal of Indian Psychology 4 (2017).
  • Oliver, Michael. Igor Stravinsky. London: Phaidon Press, 2008.
  • Onuk, Özlem. “Cubism, Stravinsky and Rite of Spring.” American Journal of Educational Research and Reviews 2 (2017): 1-10.
  • Pasler, Jann. “Music and spectacle in Petrushka and The Rite of Spring.” Confronting Stravinsky: Man, musician, and modernist, ed. J. Pasler, 53-81. Berkeley: University of California Press. 2020.
  • Pound, Ezra. ABC of reading. London: Faber & Faber Ltd., 1964.
  • Ramaut-Chevassus, Beatrice. Müzikte postmodernlik. Trans. İ. Usmanbaş. İstanbul: Pan Yayıncılık. 2002.
  • Rosen, Michael. Hegel's dialectic and its criticism. Cambridge: Cambridge University Press, 1984.
  • Robbins, Daniel. “Abbreviated historiography of cubism.” Art Journal 47 (1988): 277-283.
  • Rutgeerts, Jonas. “Revisiting rhythm analysis: How rhythm operates in the work of Gaston Bachelard and Henri Bergson.” Parrhesia 31 (2019): 85-102.
  • Sellin, Eric. “Simultaneity: Driving force of the surrealist aesthetic.” Nineteenth-Century Literature 21 (1975): 10-25.
  • Simonović, Marija. “Fire as a first cause of phenomenon in Gaston Bachelard's The psychoanalysis of fire and Igor Stravinsky's The Rite of Spring.” Kwartalnik Młodych Muzykologów [Young Musicologist Quarterly] 3 (2021): 43-64.
  • Strom, Kirsten, ed. The Routledge companion to surrealism. New York & London: Routledge, 2023.
  • Sugarman, Susan. What Freud Really Meant: A Chronological Reconstruction of his Theory of the Mind. Cambridge: Cambridge University Press, 2016.
  • Surprenant, Celine. “Freud and psychoanalysis.” Marcel Proust in context, ed. A. Watt, 107-114. Cambridge: Cambridge University Press, 2013.
  • Taruskin, Richard. Stravinsky and the Russian traditions: A biography of the works through Mavra (Vol. 2). Berkeley: University of California Press, 2016.
  • Taruskin, Richard. “Russian Folk Melodies in the Rite of Spring.” Journal of the American Musicological Society 33 (1980): 501-543.
  • Tolley, Clinton. “The place of logic within Kant’s philosophy.” The Palgrave Kant handbook, ed. M. C. Altman, 165-187. London: Palgrave, 2017.
  • Trillas, Enric & García-Honrado, Itzar. “A reflection on the dialectic synthesis.” New Mathematics and Natural Computation 15 (2019): 31-46.
  • Van den Toorn, Pieter. Stravinsky and the Rite of Spring: The beginnings of a musical language. Berkeley: University of California Press, 1987.
  • Westfall, Stephen. “Surrealist Modes among Contemporary New York Painters.” Art Journal 45 (1985): 315-318. doi:10.1080/00043249.1985.10792318
  • Whittall, Arnold. “Spring awakening.” The Musical Times 154 (2013): 93–96. http://www.jstor.org/stable/24615744
  • Zenck, Martin. “Ritual or imaginary ethnography in Stravinsky's Le Sacre du Printemps?” The World of Music 40 (1998): 61-78.
  • New York Times, “Parisians hiss new ballet,” June 7, 1913,
  • https://timesmachine.nytimes.com/timesmachine/1913/06/08/100627576.pdf (accessed: 20 February 2024).
  • New York Times, “Stravinsky and Psychoanalysis,” April 20, 1924, https://www.nytimes.com/1924/04/27/archives/stravinsky-and-psychoanalysis.html (accessed: 20 February 2024).

TOWARDS AN EARLY EXPERIENCE OF SURREALIST AESTHETIC: RE-THINKING THE RITE OF SPRING

Year 2025, Volume: 30 Issue: 59, 29 - 71, 25.07.2025

İsmail Hakkı Burdurlu

https://doi.org/10.20519/divan.1585977

Abstract

This study examines The Rite of Spring as a work that challenges the structural and aesthetic boundaries of modernist music, exploring its potential affinities with surrealist aesthetics through specific formal and rhythmic configurations. Rather than relying on linear historical continuity, the relationship between music and the arts is conceptualized as an aesthetic field shaped by belated and transversal reappearances. The transitional space between The Rite of Spring and surrealist aesthetics is explored through the lenses of psychoanalysis, music-aesthetic theories, and philosophical reflection—not to assert a direct connection, but to investigate the resonant interplay between unconscious processes and musical form. In this context, rhythmic and formal structures are approached as surfaces of aesthetic and psychic tension. Employing the concept of somathemes, the analysis traces how unconscious impulses may be inscribed in rhythmic patterns. Through an interdisciplinary framework, this study proposes an alternative way of thinking about musical form and meaning in relation to modernity and its cultural aftermath.

Keywords

Modernity Psychoanalysis Dialectics Aesthetics Somathemes

References

  • Adorno, T. Philosophy of Modern Music. New York: Seabury Press, 1973.
  • Adorno, T. “Looking back on surrealism.” Notes to literature vol. 1, 88-104. New York: Columbia University Press, 1991.
  • Adorno, T. “Stravinsky and the restoration.” Philosophy of new music, ed. R. Hullot-Kentor, 103-158, Minneapolis: University of Minnesota Press, 2006.
  • Adorno, T. Negatif Diyalektik. Trans. T. Bora. İstanbul: Metis Yayınları, 2016.
  • Andreev, Artem A. “Surreal and futuristic trends in parascientific works.” Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 143-151. https://doi.org/10.37816/2073-9567-2021-62-143-151.
  • Apostolopoulou, Georgia. “From ancient Greek logos to European rationality,” Wisdom 7 (2016): 118-130.
  • Barak, Nefise. “Immanuel Kant’ın Saf Aklın Eleştirisi Eserinde Diyalektik Kavrayışı.” Ethos 13 (2020): 36-52.
  • Barale, Francesco, & Minazzi, Vera. “Off the beaten track: Freud, sound and music. Statement of a problem and some historico-critical notes,” The International Journal of Psychoanalysis 89 (2008): 937-957.
  • Barthes, R. The responsibility of forms (Trans. R. Howard). California: University of California Press, 1991.
  • Boulez, Pierre. “Stravinsky demeure.” Musique Russe vol. 1, ed. R. Hullot-Kentor, 151-224. Paris: Bibliotheque Internationale de Musicologie, 1953.
  • Breton, Alfred. Sürrealist manifestolar. Trans. Y. Kafa, A. Günebakanlı, & A. Güngör. İstanbul: Altıkırkbeş Yayınları. 2009.
  • de Assis, Paulo. “Rasch24: The somatheme.” Artistic research in music: Discipline and resistance, ed. J. Impett, 15-43. Leuven: Leuven University Press. 2017.
  • De Matteis, Adirano, & Haus, Goffredo. “Formalization of generative structures within Stravinsky's The Rite of Spring.” Journal of New Music Research 25 (1996): 47-76.
  • DeNora, Tia. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press, 2003.
  • Forte, Allen. The harmonic organization of the Rite of Spring. New Haven: Yale University Press, 1978.
  • Freud, Sigmund. “The Ego and the Id.” The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. & trans. J. Strachey, 12–66. London: Hogarth Press, 1923.
  • Freud, Sigmund. The Uncanny. Trans. D. Mclintock. London: Penguin Books, 2003.
  • Freud, Sigmund. Totem ve Tabu. Trans. Z. A. Yılmazer. İstanbul: Türkiye İş Bankası Kültür Yayınları, 2020.
  • Gardner, Howard. Creating minds: An anatomy of creativity seen through the lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Ghandi. New York: Basic Books, 2011.
  • Gauss, Charles E. The aesthetic theories of French artists: From realism to surrealism. Baltimore: The John Hopkins Press, 1966.
  • Hess, M. Whitcomb. “Space and time in music.” The Open Court 10 (1927): 596-600.
  • Hill, Peter. Stravinsky: The Rite of Spring (Cambridge music handbooks). Cambridge: Cambridge University Press, 2000.
  • Hodges, Donald. A., & Sebald, David. C. Music in the human experience: An introduction to music psychology. New York: Routledge, 2011.
  • Järvinen, Hanna. “Great horizons flooded with the alien light of the sun: Le Sacre du Printemps in the Russian context.” Dance Research: The Journal of the Society for Dance Research 31 (2013): 1-28. Jung, Carl G. “On the relation of analytical psychology to poetry,” The spirit in man, art, and literature vol. 15, eds. G. Adler & R. F. C. Hull, 65-83. New York: Bollingen Foundation, 1966.
  • Kant, Immanel. Saf aklın eleştirisi. Trans. N. Pektaş. İstanbul: Gece Kitaplığı, 2022.
  • Ketenci, Taşkıner. “Kant felsefesinde metafizik ve insan doğası.” Kaygı: Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi 4 (2005): 92-103.
  • Kitcher, Paul. “Kant’s philosophy of the cognitive mind.” The Cambridge companion to Kant and modern philosophy, ed. P. Guyer, 169-202. Cambridge: Cambridge University Press, 2006.
  • Langer, Susanna K. Philosophy in a new key: A study in the symbolism of reason, rite, and art. Harvard: Harvard University Press, 1954.
  • Lourié, Arthur & Pring, S. W. “The Russian school.” The Musical Quarterly 18 (1932): 519-529.
  • Malt, Johanna. “The surrealist object in theory.” Obscure objects of desire: Surrealism, fetishism, and politics, ed. J. Malt, 76-112. Oxford: Oxford University Press, 2004.
  • Melly, George. Paris and the surrealists. New York: Thames and Hudson Inc, 1991.
  • Michels, Ulrich. & Vogels, Gunther. Müzik Atlası. İstanbul: Alfa Basım Yayım, 2021.
  • Morgan, Robert. “Musical time/musical space.” Music theory, analysis, and society: Selected essays, ed. R. Morgan, 101-114. New York: Routledge. 2015.
  • Móricz, Klara. In Stravinsky's orbit: Responses to modernism in Russian Paris (Vol. 26). Berkeley: University of California Press, 2020.
  • Neff, Severine, Carr, Maureen, Horlacher, Gretchen, & Reef, John, eds. The Rite of Spring at 100. Bloomington: Indiana University Press, 2017.
  • Nema, Nitansha. “Psychology in art: The influence of Freudian theories on surrealist art.” International Journal of Indian Psychology 4 (2017).
  • Oliver, Michael. Igor Stravinsky. London: Phaidon Press, 2008.
  • Onuk, Özlem. “Cubism, Stravinsky and Rite of Spring.” American Journal of Educational Research and Reviews 2 (2017): 1-10.
  • Pasler, Jann. “Music and spectacle in Petrushka and The Rite of Spring.” Confronting Stravinsky: Man, musician, and modernist, ed. J. Pasler, 53-81. Berkeley: University of California Press. 2020.
  • Pound, Ezra. ABC of reading. London: Faber & Faber Ltd., 1964.
  • Ramaut-Chevassus, Beatrice. Müzikte postmodernlik. Trans. İ. Usmanbaş. İstanbul: Pan Yayıncılık. 2002.
  • Rosen, Michael. Hegel's dialectic and its criticism. Cambridge: Cambridge University Press, 1984.
  • Robbins, Daniel. “Abbreviated historiography of cubism.” Art Journal 47 (1988): 277-283.
  • Rutgeerts, Jonas. “Revisiting rhythm analysis: How rhythm operates in the work of Gaston Bachelard and Henri Bergson.” Parrhesia 31 (2019): 85-102.
  • Sellin, Eric. “Simultaneity: Driving force of the surrealist aesthetic.” Nineteenth-Century Literature 21 (1975): 10-25.
  • Simonović, Marija. “Fire as a first cause of phenomenon in Gaston Bachelard's The psychoanalysis of fire and Igor Stravinsky's The Rite of Spring.” Kwartalnik Młodych Muzykologów [Young Musicologist Quarterly] 3 (2021): 43-64.
  • Strom, Kirsten, ed. The Routledge companion to surrealism. New York & London: Routledge, 2023.
  • Sugarman, Susan. What Freud Really Meant: A Chronological Reconstruction of his Theory of the Mind. Cambridge: Cambridge University Press, 2016.
  • Surprenant, Celine. “Freud and psychoanalysis.” Marcel Proust in context, ed. A. Watt, 107-114. Cambridge: Cambridge University Press, 2013.
  • Taruskin, Richard. Stravinsky and the Russian traditions: A biography of the works through Mavra (Vol. 2). Berkeley: University of California Press, 2016.
  • Taruskin, Richard. “Russian Folk Melodies in the Rite of Spring.” Journal of the American Musicological Society 33 (1980): 501-543.
  • Tolley, Clinton. “The place of logic within Kant’s philosophy.” The Palgrave Kant handbook, ed. M. C. Altman, 165-187. London: Palgrave, 2017.
  • Trillas, Enric & García-Honrado, Itzar. “A reflection on the dialectic synthesis.” New Mathematics and Natural Computation 15 (2019): 31-46.
  • Van den Toorn, Pieter. Stravinsky and the Rite of Spring: The beginnings of a musical language. Berkeley: University of California Press, 1987.
  • Westfall, Stephen. “Surrealist Modes among Contemporary New York Painters.” Art Journal 45 (1985): 315-318. doi:10.1080/00043249.1985.10792318
  • Whittall, Arnold. “Spring awakening.” The Musical Times 154 (2013): 93–96. http://www.jstor.org/stable/24615744
  • Zenck, Martin. “Ritual or imaginary ethnography in Stravinsky's Le Sacre du Printemps?” The World of Music 40 (1998): 61-78.
  • New York Times, “Parisians hiss new ballet,” June 7, 1913,
  • https://timesmachine.nytimes.com/timesmachine/1913/06/08/100627576.pdf (accessed: 20 February 2024).
  • New York Times, “Stravinsky and Psychoanalysis,” April 20, 1924, https://www.nytimes.com/1924/04/27/archives/stravinsky-and-psychoanalysis.html (accessed: 20 February 2024).
There are 60 citations in total.

Details

Primary Language English
Subjects Sociology of Music, Composition in Western Classical Music, Musicology and Ethnomusicology
Journal Section Article
Authors

İsmail Hakkı Burdurlu 0000-0001-7465-7679

Publication Date July 25, 2025
Submission Date November 15, 2024
Acceptance Date July 19, 2025
Published in Issue Year 2025 Volume: 30 Issue: 59

Cite

Chicago Burdurlu, İsmail Hakkı. “TOWARDS AN EARLY EXPERIENCE OF SURREALIST AESTHETIC: RE-THINKING THE RITE OF SPRING”. Divan: Disiplinlerarası Çalışmalar Dergisi 30, no. 59 (July 2025): 29-71. https://doi.org/10.20519/divan.1585977.
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