Abstract

This paper explores the meaning of interpretation in the works of Hans-Georg Gadamer and Glenn Gould, the Canadian pianist and intellectual. As a performing art, music illustrates the cognitive and practical dimensions of interpretation. While emphasizing the pre-interpreted character of musical reception and performance, both authors point to the fact that difference, alterity, and negativity lie at the heart of creative interpretation, cultivation and self-knowledge. The notion of ecstasy, understood as a type of self-forgetfulness that represents a radical form of encounter with alterity, provides the basis for a conception of subjectivity as grounded on linguistic, historical and cultural conditions, albeit not reducible to them. I maintain that the notion of ecstatic subjects is a powerful alternative to both the self-centred notion of subjectivity and its anti-humanistic counterpart in accounting for human agency.