The work of the eminent French cultural critic Louis Marin (1931-92) is becoming increasingly important to English-speaking scholars concerned with issues of representation. To Destroy Painting, first published in France in 1977, marks a milestone in Marin's thought about the aims of painting in Europe in the sixteenth and seventeenth centuries. A meditation on the work of Poussin and Caravaggio and on their milieux, the book explores a number of notions implied by theories of painting and offers insight into the (...) aims and effects of visual representaion. (shrink)

Poussin, à Rome, dit du Caravage qu'il était venu au monde pour détruire la peinture et cependant il est dit aussi qu'il possédait l'art de peindre tout entier. Ce livre cherche non point à résoudre une contradiction mais plutôt à développer une inconsistance du système représentatif dans le procès de peindre de Poussin au Caravage et vice versa. Il y sera donc question de mimésis et de fantaisie, d'histoire et d'action, de perspective et de ténèbres, de mort et de décapitation...

Bilder haben seit je her das Vermögen, sich als Metamalerei reflexiv mit den Bedingungen ihrer eigenen Bildlichkeit auseinander zu setzen. In Momenten,medialer Vanitas’, wie sie der Beitrag nachvollzieht, ist es die Symbolik der Vanitas, welche gegen das Bild als solches gerichtet wird. Schon im Barock entstehen sie mit so unterschiedlichen Werken wie jenen Cornelius Norbertus Gijsbrechts und Michelangelo Merisi da Caravaggios, die als spezifisch,thanatologische Metamalerei‘ bezeichnet werden können. Sie zielen auf die mortifzierenden Strukturen bildlicher Repräsentation, ihre Medialität und (...) Materialität. Doch auch in zahlreichen zeitgenössischen Bildern von Marlene Dumas finden sich solch selbstreflexive Momente medialer Vanitas und damit moderne Transformationen eines vormodernen Topos. (shrink)

Excerpt from L'Esiglio di Sant'agostino: Note Sulle Contraddizioni di un Sistema di Filosofia per Decreto; L'Objet De la Connaissance Humaine l'Essere e la Conoscenza l'Unité De la Philosophie Et la Théorie De la Connaissance Il solo occuparsi di queste cose pare ad alcuni indizio di spirito non libero, non filosofico. E da costoro che io mi aspetto un rimprovero di questo genere: Voi perdete. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at (...) www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

- Diskussion von Epochenbegriff und Epochengrenzen - Autor, Markt und Publikum: Strukturwandel der literarischen Öffentlichkeit - Die Epoche im Spiegel der zeitgenössischen Debatten, z. B.: Nationalliteratur, Antike, Ästhetik, Religion - Popularisierung von Wissen und literarische Wissensvermittlung - Kulturtransfer und Fremderfahrung - Gattungsinnovationen und Gattungswandel: Drama, Roman, Publizistik und Literaturkritik, Fabel und Prosaerzählung, Dialog und Essay.

A poesia, em seu sentido mais amplo, surge como ponto de partida para todos os conhecimentos acerca do homem e do mundo. Assim, o poeta não é apenas um artista que produz versos, mas o que busca uma intermediação entre o humano e o divino. Este artigo tem como proposta estudar a poesia e a arte de Michelangelo Buonarroti a partir do conceito de “Figura”, definido na obra de Auerbach, analisando o poético na obra do artista italiano a partir (...) de suas relações com o profético. Tanto na pintura dos afrescos da Capela Sistina, quanto na escrita de seus poemas, Michelangelo nos revela a luta do artista para atribuir à obra sentidos transcendentais, transformando a Arte em revelação divina, que exige uma interpretação dos seus leitores. Seguindo essa ideia, o gênio italiano passa a unir figuras pagãs e cristãs, como sibilas greco-romanas e profetas judaico-cristãos, para reler o passado, interpretar o presente e prenunciar o futuro.Palavras-chave: Poesia; Profético; Michelangelo; Auerbach.Poetry, in its broadest sense, emerges as a starting point for all knowledge about man and the world. The poet is not only an artist that writes verses, but one who seeks to intercede between the human and the divine. This article aims at studying the poetry and art of Michelangelo Buonarroti taking the concept of "Figure", as defined in the work of Auerbach, and analyzing the poetic work of the Italian artist and how it relates to prophetic themes. Both in the painting of the frescoes of the Sistine Chapel and in his poems, Michelangelo reveals the battle of the artist to assign a sense of transcendence, transforming Art in a divine revelation, which will require an interpretation of their readers. Grounded on this idea, the Italian genius blends Christian and pagan figures, such as Greco-Romans Sybils and Judeo-Christian prophets, to reread the past, interpret the present and foreshadow the future.Keywords: Poetry; Prophetic; Michelangelo; Auerbach.- DOI: 10.5752/P.2175-5841.2012v10n25p75. (shrink)

Bişr el-Merîsî taraftarları ile Osman ed-Dârimî arasında burada tartışma konusu yapılan hadisler haberî sıfatları konu alan ve müşkil nitelikte olan rivayetlerden oluşmaktadır. Bu rivayetleri genelde Bişr el-Merîsî ve taraftarlarının tecsîm ve teşbîh içerdiği iddiasıyla münker kabul ettikleri görülmektedir. Ehl-i re’y özellikleri taşımakla birlikte ilahî sıfatlar konusunda Mu’tezilî bir anlayışa sahip olduklarından tenzih anlayışları gereği sıfatları reddetmektedirler. Yaratılmışlara ait niteliklerin yaratıcıya nisbet edilmesini tenzîh anlayışlarına aykırı gördüklerinden bu tür müşkil rivayetleri ya kendi anlayışları doğrultusunda te’vîl ya da reddettikleri gözlenmektedir. Sert bir (...) ehl-i hadîs âlimi olan Osman ed-Dârimî ise, ayet ve hadislerde bildirilen ilahî sıfatlara iman edilmesi gerektiğini kabul etmektedir. Bu anlayışı sebebiyle bu rivayetlerde bildirilen haberî sıfatlara da te’vîl etmeksizin lafzî anlamıyla yaklaşmakta; kendi görüşü doğrultusunda Bişr el-Merîsî ve taraftarlarının yaptığı te’vîlleri reddetmekte, bu te’vîllerin ta’tîle yol açacağını ileri sürmektedir. Bu rivayetlerin lafzî (literal) anlamları doğrultusunda anlaşılması gerektiğini savunmaktadır. Bu hadisler üzerinde yapılan tartışmalar, temel hadis eserlerinin yazıldığı dönemde Ehl-i re’y ve Ehl-i hadîs ekollerine mensup âlimlerin hadislere yaklaşımlarını göstermesi bakımından önem arzetmektedir. Burada vermiş olduğumuz hadisler üzerindeki tartışmalar bu iki ekolün uluhiyet anlayışını, haberî sıfatlara yaklaşımlarını ortaya koyduğu gibi bunların genel anlamda hadis perspektifi hakkında bizlere bilgi vermektedir.ÖzetBu araştırma, temel hadis kitaplarının yazıldığı dönemde, yani III./IX asırda, haberî sıfatlar ihtiva eden bazı hadisler üzerinde yapılan tartışmaları ele almaktadır. Tartışma Osman ed-Dârimî (ö. 280/894) ile Bişr el-Merîsî’nin (ö. 218/833) taraftarları arasında geçmektedir. Hadisler üzerinde Ehl-i hadîs ile Ehl-i re’y mensubu âlimler arasında gerçekleşen bu tartışmalar bir yönüyle hadislerin anlaşılması ve yorumlanmasını ilgilendirmektedir. Tartışmanın, burada ele alınan hadislerin nasıl anlaşılması gerektiği; lafızların kelime anlamı mı (literal) yoksa bu lafızların ötesindeki muhtemel mecazî anlamları dikkate alınarak mı anlaşılması gerektiği noktasında odaklandığı söylenebilir. İnceleme konusu yapılan hadisleri tartışan tarafları kısaca tanıtmak yerinde olacaktır. Sözünü ettiğimiz rivayetlerle ilgili tartışmalar Bişr el-Merîsî taraftarları ile Osman ed-Dârimî arasında geçmektedir. Ehl-i hadîs’in önemli simalarından biri olan Osman ed-Dârimî, hadislerle ilgili bu tartışmaları içeren ayrı bir eser yazmıştır. Bu eser, Allah’ın sıfatları ve bazı hadis meseleleri konusunda Bişr el-Merîsî ve onun iki talebesinin görüşlerine reddiye olarak yazılmıştır. Bişr el-Merîsî, Ebû Yusuf’tan (ö. 182/798) fıkıh tahsil etmiş, önemli bir kelâmcı olarak tanınmıştır. O, kelâmla ilgili konularda aralarında İmâm Şâfiî’nin (ö. 204/820) de bulunduğu pek çok âlimle ilmî tartışmalar yapmış bir ehl-i re’y âlimdir. Halife Me’mûn’un (ö. 218/833) danışma meclisinde bulunmuş, Kur’ân’ın yaratılmışlığı (Halku’l-Kur’ân) görüşünün benimsenmesinde önemli payı olmuştur. Osman ed-Dârimî ise, Yahyâ b. Ma’în (ö. 233/848), Ali b. Medînî (ö. 234/848-49), İshâk b. Râhûye (ö. 238/853) ve Ahmed b. Hanbel (ö. 241/855) gibi döneminin otoritelerinden hadis öğrenmiş bir ehl-i hadîs âlimidir. Hadis tahsili için önemli bütün şehirleri dolaşarak hadis öğrenmiş ve rivayette bulunmuştur.Haberi sıfatları ispat ve bunlarla ilgili rivayetlerin teviline karşı çıkan anlayış ile, bu rivayetlerin tenzih anlayışına uygun biçimde tevilini savunan kesimler ilk dönemden itibaren eserler telif etmişlerdir. Osman ed-Dârimî’ye göre, ehl-i hadîs’in eleştiri edebiyatının ortaya çıkmasında, Mu’tezile’nin ilahî sıfatları reddetmesi etkili olmuş ve pek çok müellif bu yönde eserler yazmışlardır. Ebû Hüreyre’den nakledilen bir rivayetle ilgili olarak muârız, bu rivayetin Allah için bildiğimiz göz ve kulak organlarından oluştuğu izlenimi verildiğini söyler. Osman ed-Dârimî, bu hadisin göz ve kulak organlarını değil görme ve işitmeyi ispat ettiğini söyler. Hiçbir konuda Allah’ın benzerinin bulunmadığını belirtir. Dolayısıyla Allah’ın organlardan oluştuğu iddiasını ehl-i hadîs’e nisbet etmek iftiradır. Ebû Dâvûd, bu hadis ile Allah için görme ve işitme sıfatlarının ispat edildiğini ve Cehmiyye’nin ilahî sıfatları inkar görüşüne reddiye olduğunu belirtir. Ebû Hüreyre’in Hz. Peygamber’e nispet ederek naklettiği: "İman Yemenlidir, hikmet Yemenlidir! Ben Rabbi’nizin nefesini Yemen tarafından hissediyorum!" rivayetini de muârız münker kabul etmiştir. Çünkü Bişr el-Merîsî ve ashâbına göre nefes ancak karın boşluğu olanlardan çıkar, Allah ise bundan münezzehtir. Osman ed-Dârimî’ye göre, muârız yanlış anlamıştır. Burada kastedilen, Yemen tarafından esen ve insanı rahatlatan rüzgardır. Bu rivayet bağlamında bakıldığında, Bişr el-Merîsî taraftarlarının rivayeti literal değerlendirdiğini, Osman ed-Dârimî’nin ise rivayeti yorumladığını görmekteyiz. İbnü’s-Selcî, "Siz, Allah’a ondan çıkandan (Kur’ân’dan) daha faziletli bir şeyle yaklaşamazsınız!" rivayeti hakkında, Müşebbihe’nin bunu, karın boşluğu olan, kendisinden kelâm çıkan şeklinde anladıklarını belirtir. Allah boşluğu olmayan anlamında "samed" olduğundan bu anlayış geçersizdir. Bu hadisle, Kur’ân’ın Allah’tan değil O’nun katından çıkması kastedilmiştir. Osman ed-Dârimî’ye göre, İbnü’s-Selcî’nin asıl maksadı Allah’ın kelâm sıfatını inkâr etmektir. Kur’ân’ın O’ndan çıktığında bir şüphe yoktur, bunu sadece kelâm sıfatını kabul etmeyenler inkâr etmektedir. İbn Abbâs’a atfedilen; "Rükn (Hacerülesved) yeryüzünde Allah’ın sağ elidir, halk ile onunla musafaha eder" rivayetinde geçen "yemînullah" (Allah’ın sağ eli) sözünün anlamı, İbnü’s-Selcî’ye göre bildiğimiz sağ el değil, Allah’ın nimeti ve ikrâmıdır. Hacerülesved ile elin kastedilmediğini kabul eden Osman ed-Dârimî’ye göre, İbnü’s-Selcî’nin maksadı, geçersiz te’villerle Allah hakkında ayet ve hadislerde belirtilen iki eli inkar etmektir. İbn Abbâs’ın Hz. Peygamber’den naklettiği başka bir rivayeti İbnü’s-Selcî’nin eserine alıp nakletmesini eleştiren Osman ed-Dârimî, bu tür zayıf rivayetlerin yayılmaması gerektiğini söyler. Buna ilave olarak İbnü’s-Selcî’nin yaptığı yorumun da çirkin olduğunu belirtir ve eleştirir. Çünkü sözü edilen rivayette Allah, yeşil bir takım elbise giymiş kıvırcık saçlı bir genç olarak tasvir edilmektedir. Böyle bir rivayet Hz. Peygamber’den gelen sahih rivayetlerle çeliştiği için de güvenilmez bir rivayettir. Rivayetle ilgili bu değerlendirmeyi yapan Osman ed-Dârimî, rivayet hakkında muârızın yaptığı yorumları da reddeder. Muârıza göre, "Rabbimin yanına girdim" sözü, "Adn cennetinde Rabbimin huzuruna girdim" demektir. Osman ed-Dârimî’ye göre bu gibi müşkil (problemli) hadisler re’y ile tefsir edilmemeli, rivayet edilip bırakılmalıdır. Hz. Peygamber’e dayandırılan ve Allah’ın kendisine geldiğinden bahisle cevabını bilemediği bazı sorulan sorduğundan, sonra Rabbinin elini sırtına koymasıyla parmaklarının serinliğini hissettiğinden ve her şeyi öğrendiğinden bahseden rivayetle ilgili olarak muarız şu değerlendirmede bulunur: Allah Resûlü’ne gelen Rabbi değil güzel suretli bir melekti, o melek Allah tarafından yönledrilmekteydi ve elini koyan da o melekti. Osman ed-Dârimî, muârızın bu yorumunu reddeder. Bu yorum aynı zamanda diğer sahih hadislere de aykırıdır. Osman ed-Dârimî, sözkonusu rivayet hakkında muârızın yorumunu reddettikten sonra zikrettiği sahih rivayetlere dayanarak buna güvenilemiyeceğini ifade etmiştir. İlahî sıfatlar hakkında konuşmak en zor konular arasında görüldüğünden, selef âlimleri bu konuda susmayı tercih etmişlerdir. Ancak sonraki nesiller bu konuda farklı yollar tutmuşlardır. İlahi sıfatları anlama konusundaki temel yaklaşımları tefvîz, teşbîh ve te’vîl şeklinde üç ana başlıkta toplamak mümkündür. Tefvîz, selef alimlerinin benimsediği yol olup, Allah’ın zâtı ve sıfatlarının mahiyetine ilişkin bilgiyi ilâhî ilme havale etmek demektir. Teşbîh, Allah’ı yaratılmışlara veya yaratılmışları Allah’a benzetmek anlamına gelir. Te’vil, Allah’ın yaratılmışlara benzediği izlenimini veren ayet ve hadisleri dil bilimi ve aklî bilgilerle yorumlamaktır. Sıfatları inkar edenlere Muattıla denilmiş, sıfatları ispat edenler Sıfâtiyye diye anılmıştır. Ehl-i re’y’e göre Allah’a atfedilen ve sözlük anlamı bakımından teşbîh ve tecsîm izlenimi veren sıfatları uygun biçimde te’vil etmek gerekir. İlâhî sıfatlarda Mu’tezile tenzihi öne çıkarmış, Eş’ariyye ve Mâtürîdiyye ise tenzihe uygun te’vili benimsemiştir. Müşebbihe, Vehhâbî-Selefî anlayış da ilahî sıfatlardaki lafızları zahiri anlamlarıyla almışlardır. Hadis ilminde en önemli temel eserlerin telif edildiği II./VIII. ve III./IX. asırda yaşamış olan âlimler arasında cereyan eden inceleme konusu yaptığımız tartışma, ilk döneme ait olması bakımından önemlidir. Bunun yanında tartışma, âyet ve hadislerden oluşan naslara yaklaşımda, iki temel yaklaşımı göstermesi bakımından da önemli bilgiler ihtiva etmektedir. Bu iki temel yaklaşımdan biri ehl-i re’y ekolünü, diğeri ise Ehl-i hadîs anlayışını temsil etmektedir. Osman ed-Dârimî genel olarak rivayetin lafzına bağlı kalmayı savunmakta, Bişr el-Merîsî ve ashâbı ise münker olduğu gerekçesiyle rivayeti eleştirmekte ya da te’vil etmektedir. Nadir de olsa Osman ed-Dârimî’nin rivayeti ret ya da te’vil ettiği, Bişr el-Merîsî ve ashâbının ise rivayeti savunduğu yerler de görülebilmektedir. Müteşâbih (problemli) rivayetler hakkında Bişr el-Merîsî’nin yaptığı te’viller sonraki âlimler üzerinde etkili olmuştur. Onun te’villeri, Cübbâî (ö. 303/916), Kādî Abdülcebbâr (ö. 415/1025), Ebü’l-Hüseyin el-Basrî (ö. 436/1044) gibi Mu’tezilî âlimlerin yanı sıra, İbn Fûrek, Gazâlî (ö.505/1111), İbn Akîl (ö. 513/1119), Fahreddîn er-Râzî (ö. 606/1210) gibi sünnî âlimler tarafından da iktibâs edilmiştir. Rivayete dayalı olan hadis ilminde hakikatin ortaya konulabilmesi, "rivayet" ve "re’y" seçeneklerinden birini tercih etmekle değil; bunların her ikisini de yerinde ve dengeli olarak kullanılmasına bağlı olduğunu hatırda tutmak gerekir. Hakikatin ortaya çıkarılmasında rivayet re’ye, re’y de rivayete muhtaçtır. Rivayet ve re’y birbirinin rakibi değil tamamlayıcı unsurları olarak görmek gerekir. (shrink)

U radu iznosimo shvaćanje da je novoplatonizam u Michelangelovom kiparstvu prisutan na dublji način nego li to shvaćaju oni koji u Michelangelovoj umjetnosti iznalaze tek simboličku ilustraciju određenog novoplatoničkog učenja. Novoplatonizam u Michelangelovoj skulpturi ne vidimo kao simboliku koja upućuje na određenu novoplatoničku teoriju. U tom bismo slučaju o novoplatonizmu u umjetnosti govorili kao o onome izvanjskom s obzirom na bit umjetničkog djela, budući da se samo nastajanje i jestvo umjetničkog djela ne temelji u postupku teorijskog razmatranja, već u rukotvorenju. (...) Polazimo od shvaćanja da je novoplatonizam s Michelangelom ostvaren izravno iz umjetničkog tvorenja u samom unutarnjem obliku umjetničkog djela.In the paper we propose attitude that Neoplatonism in Michelangelo’s sculpture is present in a deeper way than it is understood by those who in Michelangelo’s art find merely simbolic illustration of specific Neoplatonic learning. In Michelangelo’s sculpture we do not see Neoplatonism as a symbolism that is indicating a specific Neoplatonic theory. In that case we would be talking about Neoplatonism in the art as the external considering the proper essence of the work of art, since the proper emergence and beingness of the work of art is not founded in the act of theoretical consideration, but in handicrafting. Our starting point is the understanding that Neoplatonism with Michelangelo realizes itself directly out of artistic formation in the proper internal form of the work of art. (shrink)

The popular conception of the Renaissance as a culture devoted to order and perfection does not account for an important characteristic of Renaissance art: many of the period's major works, including those by da Vinci, Erasmus, Michelangelo, Ronsard, and Montaigne, appeared as works-in-progress, always liable to changes and additions. In Perpetual Motion, Michel Jeanneret argues for a sixteenth century swept up in change and fascinated by genesis and metamorphosis. Jeanneret begins by tracing the metamorphic sensibility in sixteenth-century science and (...) culture. Theories of creation and cosmology, of biology and geology, profoundly affected the perspectives of leading thinkers and artists on the nature of matter and form. The conception of humanity (as understood by Pico de Mirandola, Erasmus, Rabelais, and others), reflections upon history, the theory and practice of language, all led to new ideas, new genres, and a new interest in the diversity of experience. Jeanneret goes on to show that the invention of the printing press did not necessarily produce more stable literary texts than those transmitted orally or as hand-printed manuscripts—authors incorporated ideas of transformation into the process of composing and revising and encouraged creative interpretations from their readers, translators, and imitators. Extending the argument to the visual arts, Jeanneret considers da Vinci's sketches and paintings, changing depictions of the world map, the mythological sculptures in the gardens of Prince Orsini in Bomarzo, and many other Renaissance works. More than fifty illustrations supplement his analysis. (shrink)

In this close analysis of Immanuel Kant’s aesthetics in his Critique of Judgment, Dr. Julie N. Books, explains why Kant fails to provide a convincing basis for his desired necessity and universality of our aesthetic judgments about beauty. Drawing upon her extensive background in the visual arts, art history, and philosophy, Dr. Books provides a unique discussion of Kant’s supersensible, illuminating how it cannot justify his a priori nature of our aesthetic judgments about beauty. She uses examples from the history (...) of art, including paintings by Michelangelo, Caravaggio, Rubens, and Constable, to support her views. This book will make a significant addition to courses on the philosophy of Kant, aesthetics, philosophy of art, metaphysics, the history of Western philosophy, ethics, psychology, and art history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

This volume uses the art of Rome to help us understand the radical historical break between the fundamental ancient pre-supposition that there is a natural world or cosmos situating human life, and the equally fundamental modern emphasis on human imagination and its creative power. Rome's unique art history reveals a different side of the battle between ancients and moderns than that usually raised as an issue in the history of science and philosophy. The book traces the idea of a cosmos (...) in pre-modern art in Rome, from the reception of Greek art in the Roman republic to the construction of the Pantheon, to early Christian art and architecture. It then sketches the disappearance of the presupposition of a cosmos in the High Renaissance and Baroque periods, as creativity became a new ideal. Through discussions of the art and architecture that defines proto-modern Rome- from Michelangelo's terribilita' in the Sistine Chapel, Caravaggio's realism, Baroque illusionism, the infinities of Borromini's architecture, to the Grand Tour's representations of ruins- through an interpretation of such major issues and works, this book shows how modern art liberates us while leaving us feeling estranged from our grounding in the natural world. The book will be of interest to scholars working in art history, architectural history, classics, philosophy, and early modern history and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le vite (...) de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of (...) learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci. (shrink)

In this book, Christiane L. Joost-Gaugier offers the first systematic study of Pythagoras and his influence on mathematics, astronomy, philosophy, religion, medicine, music, the occult, and social life-as well as on architecture and art-in the late medieval and early modern eras. Following the threads of admiration for this ancient Greek sage from the fourteenth century to Kepler and Galileo in the seventeenth, this book demonstrates that Pythagoras's influence in intellectual circles-Christian, Jewish, and Arab-was more widespread than has previously been acknowledged. (...) Joost-Gaugier shows that during this period Pythagoras was respected by many intellectuals in different areas of Europe. She also shows how this admiration was reflected in ideas that were applied to the visual arts by a number of well known architects and artists who sought, through the use of a visual language inspired by the memory of Pythagoras, to obtain perfect harmony in their creations. Among these were Alberti, Bramante, Leonardo da Vinci, Michelangelo, and Raphael. Thus did, she suggests, some of the greatest art works in the Western world owe their modernity to an inspirational force that, paradoxically, had been conceived in the distant past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prufrock's Question and Roquentin's AnswerWilliam IrwinThere could not be two more different literary figures than the right-wing, religious T. S. Eliot and the left-wing, atheistic Jean-Paul Sartre. Yet there are striking connections between their first major publications, The Love Song of J. Alfred Prufrock (1917) and Nausea (1938). Eliot was aware of and critical of Sartre, especially in the commentary on No Exit in The Cocktail Party, and, no (...) doubt, Sartre became aware of Eliot.1 But as far as can be gleaned, Sartre did not read Eliot's Prufrock, prior to the publication of Nausea, despite his connection to Adrienne Monnier, the French translator of the poem. Indeed Simone de Beauvoir documents the couple's reading habits in some detail in The Prime of Life, including their admiration for Hemingway and Faulkner during that time, but there is no mention of Eliot or Prufrock.2Both the poem and the novel present us with subjective, mood-laden impressions of the internal melancholic lives of their protagonists. Like Prufrock, Roquentin admits "My passion was dead."3Nausea is presented as a diary intended to be read by no one, and Prufrock is presented as a self-confession that no one is to hear. As Guido da Montefeltro in the poem's epigram is willing to speak to Dante because he believes Dante will never return to share what he has heard with the living, so Prufrock is solipsistically introspecting. The "you" of "Let us go then, you and I" is likely Prufrock addressing himself. But if it is addressed to another person, it can only be a reader who is as hopeless as he is, with no chance of return or redemption—only such a reader would really understand what is said. The final line of the poem "Till human voices wake us, and we drown" takes us back to the "patient etherized upon a table." Like Roquentin, Prufrock has taken himself and the reader [End Page 184] by proxy on an inner journey, a dream-like state in which the real and surreal come together.In the opening stanza of the poem, Prufrock describes his internal cityscape as including "Streets that follow like a tedious argument / Of insidious intent / To lead you to an overwhelming question... / Oh, do not ask, 'What is it?'" The question is mentioned twice more, but it is never articulated. Obviously it is an issue of great existential import concerning the meaning of life. Though Prufrock does not verbalize it, the question must be essentially Roquentin's question to himself: "Can you justify your existence then? Just a little?" (p. 177).As we shall see, even though Sartre's philosophy as developed in Nausea and crystallized in Being and Nothingness comes later and likely with no knowledge of Prufrock, the philosophy can still shed light on the poem—and in a way that in turn elucidates the philosophy.4IMeaning for Sartre is found in existence itself, emerging through the coloring and conceptualization of consciousness.5 While this does not necessarily imply the stereotypical existential view that life is bleak, meaningless, and possibly not worth living, this does nevertheless seem to be the conclusion that Roquentin draws early in Nausea. Consider this dark concern: "My existence began to worry me seriously. Was I not a simple spectre?" (p. 86). Early in the novel Roquentin concludes "Nothing happens while you live. The scenery changes, people come in and go out, that's all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition" (p. 39). This life as Roquentin describes it sounds eerily like the humdrum pointless existence of Prufrock, who has measured out his life with coffee spoons and spit out the butt-ends of his days and ways amidst the monotony of women who come and go talking of Michelangelo—a great man he resembles not at all.Later in the novel Roquentin admits "And it was true, I had always realized it; I hadn't the right to exist. I had appeared by chance, I existed like a stone, a plant or a microbe. My life put... (shrink)

Sigmund Freud sempre expressou uma profunda admiração por figuras emblemáticas do Renascimento italiano. Seu interesse por Roma e pela antiguidade romana – referências importantes em sua obra – pode ser constatado, inclusive, pela grande quantidade de viagens que Freud realizou rumo a cidades italianas entre os anos de 1876 e 1923. É nesse período, então, que o fundador da Psicanálise publica Eine Kindheitserinnerung des Leonardo da Vinci (1910) e Der Moses des Michelangelo (1914). Este fato chamou a atenção de (...) autores como Eric Fromm e Jacques Lacan, os quais, na década de 60 do século XX, teceram considerações completamente divergentes acerca da complexa relação de Freud com o humanismo renascentista. Este artigo objetiva, portanto, examinar a oposição radical que se pode estabelecer entre essas duas interpretações. (shrink)

Nicholas of Cusa.--The academic scholar.--Leonardo da Vinci.--Sir Thomas More.--Machiavelli.--Erasmus, Luther, and Dürer.--Michelangelo.--Copernicus.--Montaigne.--Paracelsus, Kepler, and Boehme.--Galileo.--Hakluyt.--Giordano Bruno.--Recommended further reading (p. 277-281).

Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's (...) special child : Leonardo da Vinci -- The goddess in Arcady : Giorgione -- Art and nature in the Cinquecento : from competitor to master -- Love and death in Venice : Titian -- Art against nature : Raphael, the early Mannerists, and late Michelangelo -- Natura bound : the later Tuscan Mannerists -- Epilogue. (shrink)

Einleitende worte (im hinblick auf die atombombe)-Transfiguration.-Michelangelos sibyllen und propheten.-Betrachtungen über den ruhm, die nachahmung und das glück.-Plotin; oder, Das ende des griechischen geistes.-Thomas de Quincey.-Thomas Hardy.

Die Studie "Leonardos Bart" liefert erstmals aus kunsthistorisch-interdisziplinärer Perspektive umfassend und systematisch Einblick in die Sozialfigur des Künstler-Philosophen, die sie in den Selbstformungen frühneuzeitlicher Künstler findet. Dabei sind es antike Größen wie Sokrates und Aristoteles, die von Künstlern wie Leonardo da Vinci und Michelangelo Buonarroti als Vorbilder einer Annäherung gewählt werden. Der Band dient gleichermaßen als Nachschlagewerk für (Selbst-)Darstellungen Leonardos und Michelangelos in Bild und Text. Für diese Übersicht bewegt sich die Analyse zwischen Kunstgeschichte, Philosophie, Literaturwissenschaft und Klassischer Archäologie.

This epic piece of storytelling brings the world of fifteenth-century Italy to life as it traces Machiavelli's rise from young boy to controversial political thinker. The often-vilified Renaissance politico and author of The Prince comes to life as a diabolically clever, yet mild mannered and conscientious civil servant. Author Joseph Markulin presents Machiavelli's life as a true adventure story, replete with violence, treachery, heroism, betrayal, sex, bad popes, noble outlaws, deformed kings, menacing Turks, even more menacing Lutherans, unscrupulous astrologers, untrustworthy (...) dentists--and, of course, forbidden love. While sharing the stage with Florence's Medici family, the nefarious and perhaps incestuous Borgias, the artists Leonardo da Vinci and Michelangelo, and the doomed prophet Savonarola, Machiavelli is imprisoned, tortured, and ultimately abandoned. Nevertheless, he remains the sworn enemy of tyranny and a tireless champion of freedom and the republican form of government. Out of the cesspool that was Florentine Renaissance politics, only one name is still uttered today--that of Niccolo Machiavelli. This mesmerizing, vividly told story will show you why his fame endures. (shrink)

Explora as noções deleuzinas sobre o cinema e problematiza elementos relacionados a indexação de filmes. Aprofunda as questões cinematográficas trabalhadas por Deleuze, que concebe dois principais regimes de imagens, compreendidos no cinema clássico e no cinema moderno. O cinema clássico é fundado na imagem-movimento, a qual submete o tempo à ação, já o cinema moderno, caracteriza-se pela imagem-tempo, a qual desvincula tempo e movimento e revela situações óticas e sonoras puras. Analisa o problema do tempo em três filmes dirigidos por (...) Michelangelo Antonini, conhecidos como trilogia da incomunicabilidade, A Aventura (1960), A Noite (1961) e O Eclipse (1962). A partir da análise de filmes sob a abordagem deleuziana é possível ampliar as dimensões presentes na indexação, tanto no processo de leitura quanto de análise do documento, considerando a dimensão do afeto. (shrink)

INTRODUCTION: Philosophy is the unique science which considers all other sciences in systematically unity (Kant). The classical anthropology (Platon, Aristoteles, Descartes, Hume, Kant, etc.) considers the human and his "spheres" (biological, psychological, logical, philosophical, theological) and his interdependence with nature and society. A philosophical theology investigates spiritual phenomena, described by religions and parapsychology in context of ethics, epistemology (incl. metaphysics), aesthetics. A theological anthropology should consider these phenomena multidimensional in context of a holisticscience, i.e. physico- (Kant), bio- (Lüke), psycho-, logico-, (...) philosophical theology, etc. [Lit.: Neu, Michailov: Integralanthropology. In: Proc. 21st World Congr. Philos. Istanbul. Press FISP 280‐281, 2003; Theol. Anthrop. In: Book: New Pathways for Eur. Bioethics. Ed.: Eur. Ass. Med. Ethics, Leuven, p. 53/60, 2006; Med. Ethics, 21st Ann. Conf. EACME (Ed.) Zürich, p. 53, 2007]. CONCEPTION: Regrettably philosophical theology is reduced to nearly philosophical and theological ethics: Both ethics in the future should realize a common scientific integrated ethics based on philosophy, theology, and psychology incl. of great cultures - Brahmanism, Buddhism, Christianism-Mosaism, Confucianism, and Mohammedanism. The present moral philosophy is very pluralistic: Many views concerningnormative and metaethics (deontology, axiology), also relativism, absolutism (incl. utilitarism), noncognitivism are present. A similar situation exists in moral theology: Not only in context of philosophy (consequentialism, justice, protectionism), but more - of theology are existent contradictionary differences concerning ethics in the great religions (related to God, Spirit/Soul, reincarnation, etc.). A future philosophical theology needs a renewal of its scientific theoretical andexperimental fundamentals (controlled observations: criterion for intersubjectivity) concerning theological anthropology incl. not only occidental epistemology (metaphysics, scientific theory, etc.), but also oriental - esp. Brahmanistic and Buddhist (self realization by Yoga, Tibetan, Zen Buddhism) and scientific evaluation of spiritual phenomena by biophysics, physiology, psychology and formal (Aristoteles, Gautama), real, transcendental (Kant), metaphysical (Hegel) normal logic. Areconsideration of application of philosophy of arts, esp. aesthetics in philosophical theology is also necessary (incl. inspirations in music/Bach, Beethoven, Händel, painting/Leonardo da Vinci, sculpture/Michelangelo). CONCLUSION: Scientific and political support for a renovation of theological anthropology and philosophical theology could help essentially for a realization of UNO-Agenda 21 for better total (incl. spiritual) health and peaceful world. (shrink)

Este ensaio propõe uma análise de Blow-Up – Depois daquele beijo (1966), dirigido por Michelangelo Antonioni, a partir da identificação de referências feitas ao longo do filme às ex-colônias europeias. Partimos do pressuposto de que tais elementos tecem uma rede de significados nada fortuita e estabelecem uma relação entre a produção cultural dos jovens rebeldes dos anos 1960 (o tema ostensivo do filme) e a crise do Império britânico. A partir dessa perspectiva, propomos uma leitura da trama, particularmente a (...) busca das personagens por autenticidade, como uma estratégia de compensação pela elisão do Outro colonial. (shrink)

This is a new edition of "A Problem in Greek Ethics," originally published in London in 1901 for "private circulation." Part of the project Immortal Literature Series of classic literature, this is a new edition of the classic work published in 1901-not a facsimile reprint. Obvious typographical errors have been carefully corrected and the entire text has been reset and redesigned by Pen House Editions to enhance readability, while respecting the original edition."A Problem in Greek Ethics" is an account of (...) sexuality between men in all its forms, with Greek culture as a backdrop. Perhaps the best description of "A Problem in Greek Ethics" is this one in "Queer Religion" (Praeger, 2012, edited by Donald L. Boisvert and Jay Emerson Johnson, pp. 180-181): "Published at the turn of the century, 'A Problem in Greek Ethics' is a systematic and well-documented exposition of the role of homosexuality in the different historical periods of ancient Greek society. Throughout most of his work, Symonds prefers to use the term 'paiderastia' to 'homosexuality,' the latter a term he only uses in rare instances. Nevertheless, 'paiderastia,' in Symonds's work, amounts to a broad concept of homosexuality rather than to our current concept of pederasty. Whitman and his work are never mentioned by Symonds in 'A Problem in Greek Ethics,' but the conceptual connection had already been made explicit in Walt Whitman: 'A Study' eight years earlier. In the introductory lines to 'A Problem in Greek Ethics,' the reader is alerted that ancient Greece offers a unique example in history of 'a great and highly developed race not only tolerating homosexual passions, but deeming them of spiritual value, and attempting to use them for the benefit of society.' According to Symonds, while homosexual relations were not prominent in the so-called heroic age of Greece, it was nevertheless the love of Achilles for Patroclus, as narrated by Homer, that conferred in a later age of Greek history an almost religious sanction to the martial form of paiderastia. This episode in the Iliad inspired in later generations an ideal of manly love, which he describes as 'a powerful and masculine emotion, in which effeminacy had no part, and which by no means excluded the ordinary sexual feelings.' To which he adds that the tie created by these relationships was 'both more spiritual and more energetic [than] that which bound man to woman.' While Homer knew not about homosexuality, very early in Greek history paiderastia became a national institution giving rise, according to Symonds, to a distinction between a noble, spiritual, form of masculine passion, which he calls "heroic love," and a base and sensual one, which he identifies as 'vulgar love.'"About the Author: John Addington Symonds was born in Bristol, England, in 1840. He was an English poet, an author of several works, and a literary critic. In 1873 he wrote "A Problem in Greek Ethics," which discussed homosexuality between men. He printed ten copies in 1883, before effectively publishing the book in 1901. He was also known for his work on the Renaissance, as well as for his translations and biographies. He wrote "Our Life in the Swiss Highlands" (1891), biographies of Philip Sidney (1886), Ben Jonson (1886) and Michelangelo (1893), several volumes of poetry and essays, and a translation of the "Autobiography of Benvenuto Cellini" (1887). John Addington Symonds died in Rome in 1893. In 1896, Havelock Ellis published, in German, prepared with the collaboration of Dr. Hans Kurella, "Das konträre Geschlechtsgefühl" (Leipzig, by Georg H. Wigand's Verlag), later revised and published by Ellis as "Sexual Inversion"-the first medical text in English about homosexuality, which he had co-authored with Symonds, and which would become a part of Ellis's six-volume "Studies in the Psychology of Sex.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 451-453 [Access article in PDF] Ernst Cassirer. The Logic of the Cultural Sciences: Five Studies. Translated by S. G. Lofts. New Haven: Yale University Press, 2000. Pp. xliii + 134. Cloth, $30.00. Paper, $15.00. This is a new translation of Cassirer's Zur Logik der Kulturwissenschaften: Fünf Studien. It replaces the earlier one by Clarence Smith Howe with the title The Logic (...) of the Humanities (Yale University Press, 1961) that has been out of print for many years. Howe's volume includes a translation of Cassirer's essay "Naturalistic and Humanistic Philosophies of Culture" which does not appear in the new volume.Considered as part of his system of symbolic forms, this volume is the counterpart to Cassirer's conception of mathematical and scientific thought of the third volume of the Philosophy of Symbolic Forms. The pivotal study in Cassirer's five closely related analyses of the cultural sciences is that concerning "Naturbegriffe und Kulturbegriffe." [End Page 451] Cassirer contrasts the way in which concepts function in natural scientific thought with the way in which concepts function in cultural thought. In the natural sciences all of the individual "properties" of a thing can be reduced to numerical determinations. The particular can be subordinated to the universal. Thus gold as a specific metal is gold if and only if it exhibits specific numerically expressed properties, e.g., possesses a specific weight, electrical conductivity, coefficient of expansion, etc.Cultural concepts do not subordinate the particular to the universal in this determinate manner. Rather, they coordinate the particular with the universal. Thus it is possible to arrange the various figures of the Renaissance such as Leonardo da Vinci, Machiavelli, Michelangelo, and Cesare Borgia under Jakob Burckhardt's conception of "Man of the Renaissance," but each only approximates this standard. Although each is not given a determinate place in relation to the others, they all can be comprehended in a meaningful set of interrelationships.There is a problem of how to render Cassirer's key terms, Naturbegriffe and Kulturbegriffe. Howe expresses them literally as "nature-concepts" and "culture-concepts." Lofts states them as "concepts of nature" and "concepts of culture." Lofts's rendering has the difficulty of suggesting that Cassirer's discussion concerns a comparison or criticism of various concepts of nature and culture rather than a theory of concept-formation showing the type of thinking distinctive to the natural sciences in contrast to the cultural sciences.The last study in the volume concerns "The Tragedy of Culture" in which Cassirer criticizes Georg Simmel's conception of culture as alienation of the human spirit from itself. Against Simmel's negative view, Cassirer advances his view of culture as a positive achievement of the development of spirit (Geist) from life (Leben). Cassirer's position in this study forecasts his view as developed later in An Essay on Man (1944) that human culture as it arises through its various symbolic forms of myth and religion, language, art, history, and science is a process of "progressive self-liberation." Culture for Cassirer is not alienation, but self-knowledge.Central to this last study is Cassirer's discussion of how the "I" does not originally exist in a fixed state of separation between "I" and "world" and between "I" and other human beings. The Ich, Cassirer says, develops itself in relation to the Du in the formation of culture. The difference between the two is not simply given. Lofts follows Howe in translating Ich and Du as "I" and "you" (Howe, 188-90; Lofts, 107-8). Cassirer's use of the second person familiar (Du) is intended to emphasize the "I-thou" relationship, the sense in which the other in this development of the self is originally an alter ego, not an impersonal other (Sie). Cassirer's discussion here echoes his discussion of the "thou" in the chapter on the "Phenomenon of Expression" (Ausdrucksphänomen) in the third volume of the Philosophy of Symbolic Forms. The translation of Du as "you" rather than "thou" which reflects the... (shrink)

La presente obra se trata de un ejercicio de reflexión colectiva para [re]pensar a Bobbio con verdaderos artículos científicos por parte de los estudiosos de su obra más acreditados en Europa y América Latina: Michelangelo Bovero, Arnaldo Córdova, José Fernández Santillán, Ermanno Vitale, entre otros. A la vez que un homenaje al filósofo turinés, se logra con estos textos una revisión crítica de muchas de las ideas clave de su pensamiento a la luz de los retos del siglo XXI: (...) democracia, terrorismo, derechos fundamentales, etc. (shrink)

Tomando como punto de partida un análisis de los conceptos que aparecen en el título de su participación, Bovero sostiene que atribuir toda especie de derechos al «ciudadano», al miembro de una comunidad determinada, cierra la posibilidad de considerar el problema de los derechos de la persona y su específica relevancia actual en un mundo atravesado por grandes masas de migraciones de personas desesperadas. Más en general, concebir los derechos fundamentales como derechos de ciudadanía impide plantear correctamente el problema de (...) su defensa, cuyo nivel crucial sólo puede ser el supranacional. (shrink)

Passed away in the early summer of 2021, Virgilio Mura practiced political philosophy following the method of conceptual analysis, in the wake of the tradition generated by neo-empiricism and far from “analytical philosophy” that become dominant in the last half century. In Mura’s thought, seriousness as rigor in the application of the analytical method is combined with the defence of secularism, expressed in his stance in favour of a form of relativism that should not be confused with indifferentism.

Da Costa and French explore the consequences of adopting a 'pragmatic' notion of truth in the philosophy of science. Their framework sheds new light on issues to do with belief, theory acceptance, and the realism-antirealism debate, as well as the nature of scientific models and their heuristic development.