Культура как препятствие: размузыкаливание мира в гибридных дискурсах музыкального воздействия
The article problematizes the relationship between music, nature and culture in the heterogeneous discourse of therapeutic effects of music and in critical theory of music by Adorno. To determine the nature of this relationship, the article refers to conceptual metaphors and ontological intuitions of actor-network theory (ANT). Using ANT, the article articulates the concept of “hybrid discourse” that differs from the related concepts of social semiotics and postcolonial theory. This concept is in lesser degree used to describe a local communicative practices that mixes different languages, sociolects, ethnolects and functional styles of speech, and in higher degree used to describe a discursive constructions revealing the symptoms of hybrid activity on the borders of nature and culture. The article analyses the discursive practices of the New Age movement that invokes music — from theosophy in the late XIX century to modern esoteric-therapeutic narratives. In these discursive practices, we find the significant combination of pseudo-religious reenchantment of the world and its radical nihilistic “demusicalization” (in the terminology of Leo Spitzer). In the hybrid esoteric discourses modern socio-acoustic texture of nature–culture is neutralized in favor of transcendent reality of unhuman. In the Adorno’s critical theory ontological dualities are synthesized into the ideological totality of culture industry. Only in the early vanguard of the Second Viennese School Adorno discovers the ghostly possibility of an exit from culture industry and achieving the true nature of music and non-alienated sociality.