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Displaying: 1-10 of 14 documents

1. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Gloria Vergara Presencia de Schiller en la poesía mexicana
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To speak of the influence of German poetry in Mexican Literature is a paradoxical question. On one hand, some critics affirm that Goethe and Schiller had a decisive influence over the Mexican romantic authors, while others as Enrique Anderson Imbert (History of Hispano-American Literature), only underline the indirect influence over them. In this essay, an analysis is made regarding the possible influence of Friedrich von Schiller and its aesthetics ideas as a poet and playwright, in Mexican poetry. This essay further studies Manuel M. Flores and Manuel José Othón, both recognized poets which work shows an appreciation of Schiller.
2. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Carmen Cozma The Modulations of Ethics in an Aesthetic Tonality, from the Perspective of Friedrich Schiller
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A challenge to scrutinize the intimate unity of the aesthetical and the ethical levels of the human beingness in Friedrich Schiller's theoretical writings makes the present essay's content. We approach a basic idea unfolding the creed of the eminent artist and philosopher in the great power of 'beauty' to activate and to enrich the value of 'humanness'. By articulating a conceptual apparatus modulated on the sensitive-rational becoming of human being, our attempt focuses on the meaningfulness of the 'moral living' through the 'art's experience', highlighting a peculiar state, designed by Schiller as "the most sublime humanity". The call for a philosophy of 'beauty' - including the moral dimension - remains a valuable learning to be disclosed, especially in times of spiritual disarray - as the present-days have many similarities with those of the end of the 18th century.
3. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Ioan Alexandru Tofan Métaphore et réflexion chez Hégel
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My essay deals with two problems. First, I want to verify the possibility of a „non-metaphysical” perspective on Hegels writings and second, I want to answer the question „What kind of language is appropriate in order to express the speculative thought?”. I begin by discussing the Derrida’s view of Hegel as a metaphysician and then I try to give the alternative to his interpretation by analizing some pages fron Hegel’s Logic.
4. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Ludmila Bejenaru The Metaphysics of Music at Schopenhauer and Cioran
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Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human being.Schopenhauer will consider art, and especially music, as the only liberating form from delusion and suffering, from the omnipotence will to live. Making a strange parallelism between music and the will to live, Schopenhauer will find between these two a report of identity: “the world is an incarnation of music as well as an incarnation of Will: There is no art besides music that expresses an ideal aspect of Will, the Will itself in its purest essence”.If at Schopenhauer the music expresses the Will itself in its purest essence, at Emil Cioran “the metaphysical madness of the musical experience… weakens the will to live and the vital main springs”.Through music Emil Cioran found the way to himself, to his ego and his profound musical nature.The moments of separating of the delusions world are for the human being moments in which the entire existence feels like a melody and all of the being’s sufferings assemble and melt into “a convergence of sounds, into a musical enthusiasm and into a warm and resonant universal community”, into a “sweet and rhythmic immateriality”.
5. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Manuela Teodora Mihoci Friedrich Schiller: ritratto e idea
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Directive of muse, as any authentic poet, Friedrich Schiller, author of an indelibly work, expressed himself in various styles: theatre, lyrical, ballad, and works of aesthetical. Thirsty of truth, exceeding rationality, he wrote for cotemporary saddles a lesson of civilization, inviting on each to enjoy from art and to live in consonance with the Geist world conscious that the aesthetical education is the road toward politics and a proper ethical corresponding with historic periods inwhich was enchain. Aesthetic expressions as "the beautiful", "the sublime", transformed into ethical expressions, not in the aim of forming of a value scale, but more to express feelings and provoke answers, forming a new consciousness.
6. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Simona Mitroiu L’histoire comme résultat du jeu entre la mémoire et l’oubli
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The memory and the oblivion are the two coordinates which define the cultural identity. In this context the history is the result of the interactions between these two coordinates. The paper presents the relationship between memory and oblivion, emphasizing the special role of the oblivion and also trying to diminish the categorical opposition between memory and oblivion. The history is the product of a selection process of information, a process which is intimately bound up with the dynamics of the two most important coordinates of the individual and national cultural identity.
7. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Cristina Gelan J. C. Friedrich von Schiller. Aesthetics and Politics
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To arrive at a practical solution in the political problem, one must take the road of aesthetics because, in Schiller’s opinion, it is only through beauty that we arrive at freedom. This can only be demonstrated if we first know the principles by which reason is guided in political legislation; for, although in its aesthetic state human action is truly free and it is free to the highest degree from any constrictions, it is not, nevertheless, beyond laws. Reason and the illumination of the mind, Friedrich Schiller believes, are not enough to make the truth triumph and heal the political: an education of feeling is necessary. The education of feeling represents the most stringent necessity as it becomes both a means to render efficient the improvement of ideas and judgments in practical life, and a cause generating this improvement. For, any amelioration in the sphere of the political must have in view the ennoblement of the character, and the instrument most at hand to this aim is the art of the beautiful.Beauty is the common object of the two impulses or instincts (reason and experience) and is best expressed through the concept of play; it is only play that renders man complete and develops his double nature. Making the beautiful a mere play does not involve a degradation of beauty; restricting the beautiful, which is regarded as an element of culture, to mere play is not in contradiction with the dignity of beauty, but we must look at the idea of play as it was expressed by Johan Huizinga also, and see man as the homo ludens providing the art of life.
8. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Paul Valadier SJ L'anarchie des valeurs
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9. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Luigi Luchini Lo scisma greco del 1054, la caduta di Costantinopoli nel 1453, l'arte bizantina e la sua influenza in Italia
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The Byzantine art can also be called the Christian art of East, between 4th century in which arose and 14th century in which the sunset began. In the 6th century the true grandiose of the arts was created by the Byzantine. This art maintained these classic traditions for various centuries and the renaissance of 10th and 14th centuries has had above all the persistence and the awakening of the ancient spirit. In the second half of the 13th century, we assist to the decline of the Empire of East, the advance of the invasion of Muslims and the separation from the Byzantine influence.The western culture is based on the reason of divine origin. The art, beyond the allegorical meaning, becomes technically constructive. The artist today difficultly succeeds to make a face human, an expression of the man-God. We are in full industrial age, from which we achieve egoism. Over the dogmatic contrasts between the two churches, the union is felt in spirit, and also in the spirit of art. The historical schism does not have the total force to separate; the re-unification of the Christian world is an aspiration of all the Europeans today.
10. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Nicolae Râmbu La claca nella storia della cultura
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Apart from what this word is usually known to mean (besides the known meanings of the term), the CLAQUE was in the history of the theatre a form of manipulation of the evaluation judgements and a way of corrupting the public’s taste. Infiltrated in the theatre hall, in the middle of the „innocent” audience, the CLAQUERS applauded when their chief told them to, in order to give the impression that the play was a huge succes. They did it for the money. Taking into account this phenomenon, we can say that in the whole history of culture and, of course, on the „stage” of the world as well, the CLAQUE was always present. The CLAQUE as a cultural phenomenon is, almost each time, the price of succes.