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1. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 2 > Issue: 2
Manuela Mihoci Esperienza religiosa e verita
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Being experienced (Erfahrung) means living. Around these two concepts: experience and living, I created this paper, as an approach to a pretty sensitive field of study, the religious one.The place of truth here can be read between the lines, but this issue stays open and needs more profound study. There is still a question: what is thepriority in studying religious experience: living as an inner and outer manifestation of a person, the analysis of a psychological report between the human being and the divine, the sacred, a research of a belief's truth or all these taken together.It is obvious that Truth stays in itself and its basis is in itself, and the report with the human is found through the act of living.
2. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 2 > Issue: 2
Manuela Mihoci Introduzione al cristianesimo : lezioni sul Credo apostolico by Joseph Ratzinger
3. 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.
4. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 1
Florin Voica Il vivere di Nietzsche come opera filosofica d’arte
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This distance biographical will follow however one via little various from that in way immediate can to be meant like biography, because it will try to avoidthe fall in that Nietzsche calls “error of the biographers” and that she will try not to stop itself on the personal identifying data and neither to inquire around to the psychological configuration of the author, but will more rather follow the thread of the thought expressed in its works. The written ones of Nietzsche, as we have already pointed out, are from meaning like integer, also that in aphoristic shape that represent a fragmentary thought.The living as it operates has been taken in consideration, at first, from the fact that the works rise from the work that is the living, which constitute the privileged field of the creation of the artist hour this living have been looked at to approach the phenomenon of the tragedy. The scope of the art is to transform all that is bad, the painful, terrible and incommodious things.
5. 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.
6. 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.
7. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 3 > Issue: 2
Nicolae Râmbu Le malattie assiologiche dello spirito
8. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 4 > Issue: 1
Manuela T. Mihoci Del linguaggio e dell’arte
9. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 4 > Issue: 2
Fernando Cipriani Un Dibattito Socioantropoplogico nel Settecento. Il Mito del Buon Selvaggio
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A socioanthropological debate in the 17th Century. The Myth of the Good Savage. The myth of the Good Savage was born and developed especially in the17th century, but it already had its ethnological bases in the geographical discoveries of the 15th century and in the colonial conquests. The French Enlightenment questions about the Occidental civilization and the moral principles that were the bases of the colonial expansions of the European powers. The cultural debate, extended by the anthropological science, was directed to the attempt to knowledge the submissive populations who became the colonial populations. Any kind of reduction of the social debate to the superiority of the Occidental human being is progressively surpassed by the comparison of two worlds, initially opposed and than more and more close to one another: the civilization world and the primitive one. In Voltaire’s stories the moment of the overtaking of the natural state, specific to the savage, is more important, through one necessary acculturation, while in the autobiographic and traveling stories, under the impulse of the ethnical similarities reminded by Rousseau and by the anthropological philosophers, is asserted the equality of people’s rights. In this way the natural condition is „sweetened” by the knowledge of the nature and of its laws, which is inspired from the recognition of the equality between social condition and birth. To fallow the laws of nature means to surpass the social conventions and to give back to the civilized man the naturalness of his own feelings, the innocence and the purity of his customs. In the rational way, to fallow the laws of the nature means the reconciliation between Rousseau’s principles and Voltaire’s ones. In this way the paradoxes of the civilized world and the ones of the primitive world are eliminated through the integration of the two in one united concept.
10. Cultura International Journal of Philosophy of Culture and Axiology: Volume > 5 > Issue: 1
Nicolae Rambu Genio e Weltanschauung da Kant a Hitler
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During the Nazi regime, Immanuel Kant was the most studied German philosopher. The most important in this context is the theory of the genius and of thecreation of the genius that is developed especially in the Critique of Judgement. Kant defines the genius as the natural capacity of the personality to impose its own rules to the art. The Nazi ideologists had invoked this fact to justify philosophically the right of the Führer to impose its own rules to the art of politics. This is the reason of the attempt of the Nazi propaganda to project in the public conscience the image of one genius leader who, like the genius artist, imposes his own rules to the politics.