Das paradies in der politik ein kapitel negativer kosmologie

Abstract: The idea of a “paradise in politics” is an answer to the cosmogonic- anthropogonic problem that, through their bodies, the life of human beings has been shaped politically from the very beginning: all creation is a creation of bodies and bodies are power. All creation, furthermore, means separation, it emerges through a multiplicity of things and beings only. The conventional solution for the problem, in the realm of human beings, consists in forming societies out of a multiplicity of indivuals that remains as such. The solution of a “paradise in politics”, however, envisions a “healing” of creation through a bodily transmutation by which a world of bodies emerges that is freed from the problem of bodies: separation, power. The article discusses the negative cosmology with which all tales on a paradise in politics start. It shows the essential role of phantasy in the constitution of these tales, and elucidates the principal structural elements through which visions of a paradise in politics are built. A special attention is given to the parallelism between these visions and known religious thought, as in the case of the concepts of apokatastasis or perichoresis, for instance. Methodically, the article achieves a demonstration of its subject by an extensive presentation and analysis of two case studies: Rousseau’s vision of a “terrestrial paradise” and the attempt at “bodily redemption��� put on the stage in 1968-69 by the “Living Theatre” Group with its performance “Paradise Now”.

Religiosidad en “Ein deutsches requiem” de Brahms : una aproximación hermeneútica

Resumen: El Requiem Alemán de Brahms ha sido objeto de numerosos análisis teológicomusicológicos, debido principalmente a dos características peculiares: 1. es una obra del género requiem que no utiliza el texto de la Missa pro defunctis, sino que emplea una selección de textos bíblicos elegidos por su autor, y 2. su contenido motívico deriva de manipulaciones sobre la melodía del coral Wer nur den lieben Gott lässt walten, que aparecen a lo largo de los 7 números de la obra. Este trabajo pone de relieve la existencia de un motivo autónomo, independiente del contenido del coral, que aparece en cinco de los siete números y al que el autor asigna la representación simbólica de la Redención.