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41. Chiasmi International: Volume > 4
Alessia Mascellani Viaggio con Merleau-Ponty alle Radici dell’Essere: Alla Scoperta di un Logos di Linee, Luci e Colori
42. Chiasmi International: Volume > 4
Justin Tauber “La filosofia politica di Merleau-Ponty”: Ventiseiesimo convegno del Merleau-Ponty Circle USA all’UNCA (Asheville, North Carolina), dal 19 al 22 settembre 2001
43. Chiasmi International: Volume > 4
Antonio Martone Camus e Merleau-Ponty: Dalla critica dello storicismo marxista all’esistenza democratica
44. Chiasmi International: Volume > 4
Luigi Tarantino Per una Storia dell’Esperienza: Archeologia e fenomenologia: fra lo storico e I’originario
45. Chiasmi International: Volume > 5
Renaud Barbaras Presentazione
46. Chiasmi International: Volume > 5
Simona Pierri “Corpi Stranieri”: Reversibilità sempre imminente e mai realizzata di fatto
47. Chiasmi International: Volume > 5
Koji Hirose Merleau-Ponty e la teoria dell’autopoiesi. Il decimo congresso del Circolo merleau-pontyano del Giappone
48. Chiasmi International: Volume > 5
Davide Scarso Vita. Il convegno del 2003 dell’ “International Merleau-Ponty Circle” all’UWO di London (Ontario, Canada), dal 18 al 20 settembre 2003
49. Chiasmi International: Volume > 5
Sara Guindani Le Voyant et l’Avedgle: Pittura e letteratura come direttrici per una nuova ontologia negli ultimi scritti di Maurice Merleau-Ponty
50. Chiasmi International: Volume > 5
Federico Leoni Carne come Ritmo: Teologia e fenomenologia della carne
51. Chiasmi International: Volume > 5
Elena Ronconi Sulla Filosofia come Ontologia Interrogativa: L’ultimo Merleau-Ponty a partire da Blanchot
52. Chiasmi International: Volume > 7
Mauro Carbone, Helen A. Fielding Presentazione
53. Chiasmi International: Volume > 7
Giuliano Antonello L’Aver-Luogo dell’Individuo
54. Chiasmi International: Volume > 7
Veniero Venier Archeologia Della Coscienza: Note in margine alla fenomenologia di Merleau-Ponty
55. Chiasmi International: Volume > 7
Davide Scarso Merleau-Ponty, Lévi-Strauss e la Percezione Sociale
56. Chiasmi International: Volume > 7
Paolo Gambazzi La Forma come Sintomo e Videa come Costellazione Problematica: Sul preindividuale e il trascendentale nella critica dell’ilemorfismo: Merleau-Ponty, Simondon, Deleuze (ma anche Plotino, Bruno e Ruyer)
57. Chiasmi International: Volume > 7
Mario Neve “Milieu”, Luogo e Spazio: L’eredità geoestetica di Simondon e Merleau-Ponty
58. 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.
59. 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.
60. 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.