O mito de Ulisses em Se questo è un uomo

Este trabalho parte do mito de Ulisses retomado por Dante e se concentra na leitura feita por Levi do canto dantesco , bem como da (re) elaboração da última aventura do herói grego no contexto da história pessoal do escritor. Trata-se de um moderno Ulisses apresentando uma visão moderna do Inferno. Em Dante, Ulisses está entre as almas condenadas a pagar eternamente seus pecados e, ao mesmo tempo, testemunhas e narradores, capazes de contar o processo da própria morte. Neste sentido, o viajante grego tornou-se , a partir da publicação da obra de memória do Holocausto escrita por Primo Levi, o símbolo do testemunho dos campos de concentração. O exemplo clássico da presença de Dante na narrativa de Levi é o capítulo XI do livro Se questo è un uomo , intitulado “Il canto di Ulisse”, onde prosa e poesia se encontram. O mito de Ulisses, que representa a exaltação do homem inteligente, ávido de conhecimento, que chega às portas do grande mistério da existência humana torna-se, em Levi, um instrumento didático. Recitar uma poesia assume, no universo do campo de concentração, o valor de um ato político e humano, uma afirmação coletiva dos valores que aquele sistema pretendia destruir.

Influxos do céu na existência dos homens. Os escritos astrológicos na Península Ibérica (séculos XIII, XIV e XV)

Pós-graduação em História - FCHS

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Colour Symbolism, Colour Preference in Hungarian Folklore and Folk Architecture"

The Hungarian way of decoration has certain characteristics which are rooted in the deep symbolism of ancient Hungarian mythical thinking. The ancient heritage of the Hungarians' former homeland somewhere in the Urals included eastern elements. During their migrations, the Hungarian tribes met other eastern peoples and their culture of decoration became mixed with elements drawn from these new contacts. These diverse influences mean that the Hungarian way of thinking, building and ornamentation show a certain dualism of Puritanism and rationalism in the creation of space and manufacturing, and rich fantasy in decoration and ornamentation. The Hungarians use coloured ornamentation to emphasise the symbolic importance of details. The colouring system of the built environment shows the same dualism: the main colour of the facades and inner walls is white, while the furniture, textiles, gates and windows, and sometimes the gable and fireplace are richly decorated. In Hungarian symbolism, the house and settlement are a model of the universe, so their different parts also have a transcendent meaning. The traditional meanings of the different colours reflect this transcendence. Each colour has ambivalent meanings: RED - the colour of blood - means violence and love. YELLOW - means sickness, death and ripeness (golden yellow). BLUE - means innocence, eternity (light blue) and old age, death (dark blue). BLACK - can be both ceremonial and mourning. WHILE - can have sacred meaning (bright white), while yellowish white fabric is the most common garb of both men and women in village society. GREEN - the only colour without a dual meaning, symbolises the beginning of life. Until the late 18th and early 19th centuries Hungarian folk art used one or two-coloured decoration (red, black, blue, red-blue or red-black), and from the early 19th century it moved to multi-coloured decoration. Colours are characteristically used in complementary contrast, with bright colours on a plain ground and an avoidance of subtle shadings.

„Der Ewige“ als „Synthese“ des Stern. Der Gebrauch des Gottesnamens „der Ewige“ bei Franz Rosenzweig

In his famous final essay Franz Rosenzweig neglects to mention that he had referred to the expression “the Eternal” already in The Star of Redemp­tion. Through a comprehensive analysis of his writings, and in particular of his masterpiece, the article seeks to research thoroughly Rosenzweig’s use of this expression. The revelation of God’s name is a core issue in The Star of Redemption. While elaborating on the structure of the Star, Rosenzweig seeks to cap­ture the crucial meaning of God’s name by translating it as “the Eternal,” thereby enabling us to consider the thought of eternity as presenting the “synthesis” within the system of The Star of Redemption. Commonly perceived to convey an infinite progression of time, Rosenzweig’s understanding of the concept of eternity in The Star proves to be richer, including the idea of the everlasting as well as the notion of a constantly renewing presence. The article furthermore shows that the concept of the meaning of God’s name oriented at the present, as de­vised by Rosenzweig together with Martin Buber in their joint work of transla­tion, had already been articulated in The Star.

Arturo Uslar Pietri el artífice de la palabra en el centenario de su nacimiento (1906-2006)

Este trabajo analiza cinco creaciones literarias del escritor venezolano Arturo Uslar Pietri, el cuento “Barrabas", la novela El camino de El Dorado, el ensayo “La ciudad de nadie", la obra de teatro “Chuo Gil y las tejedoras", y el poema “Tres leones de plata" para estudiar la relación del poder con la palabra porque estos pueden crear mundos. También observamos su reflexión acerca de la culturas la cuales crean diferentes tipos de expresión que nuestro autor muestra conocer perfectamente. En “Barrabás" (1928) podemos ver que Uslar quiere diferenciarse de la forma como se ha escrito la literatura venezolana del pasado. En El camino de El Dorado (1947) quiere expresar el poder de destrucción que la palabra tiene en la figura del injusto gobernante, Lope de Aguirre. “La ciudad de nadie" (1950) nos habla de las diferentes lenguas y culturas que las personas practican en Nueva York. “Chuo Gil y las tejedoras" nos enseña el chisme como la forma de expresión de los pueblos pequeños (1959) y por último “Tres leones de plata", poema contenido en libro Manoa (1972) expresa la eternidad de las palabras contenidas en el poema. Este artículo quiere demostrar el maravilloso dominio que tenía Arturo Uslar Pietri para expresar las palabras en todos los géneros que la literatura ha tenido hasta hoy. Lo que nos permite concluir que es uno de los mejores escritores que existen en la literatura latinoamericana.

El dilema tiempo-creación en el pensamiento de Alberto Magno

La cuestión sobre la creación y su relación con el tiempo constituye una de las problemáticas fundamentales del siglo XIII y un punto de encuentro entre el pensamiento filosófico y teológico, entre una representación científica del mundo que se descubre en la transmisión del pensamiento griego y lo que la palabra revelada ofrece como adhesión de fe. El presente trabajo intenta mostrar el aporte de Alberto Magno a partir del análisis de de las siguientes obras: In II Sententiarum, Physica, Metaphysica y Summa Theologiae. Alberto expone su pensamiento a partir de la interpretación del Génesis 1, 1: «en un principio Dios creó el cielo y la tierra». En su opinión, la noción de principio señala un comienzo temporal, de modo que un universo creado, necesariamente debe haber comenzado a ser en el tiempo, asumiendo como contradictoria la posibilidad de un universo creado y eterno. Admite, sin embargo, que no es posible demostrar racionalmente que el universo creado tuvo un comienzo. Por esta razón, la problemática del inicio temporal del universo creado pertenece propiamente al ámbito teológico y de la fe, ya que no puede llegar a ser resuelta desde la filosofía y el conocimiento natural.

Alberto Magno y Buenaventura sobre la eternidad del mundo : aproximaciones y divergencias

La tesis aristotélica acerca de la eternidad del mundo y su prolongación averroísta incide en el pensamiento escolástico con anterioridad al estallido del conflicto en la Universidad de París. Ambos maestros de teología, el dominico y el franciscano, toman partido por la tesis contraria; en el caso de Alberto Magno hay una inclinación hacia la imposibilidad de presentar desde la filosofía argumentos que sostengan su posición, como así también argumentos que avalen la posición contraria. La razón aducida por Alberto es que no se trata de un tema propio de la física, sino perteneciente al orden sobrenatural. Buenaventura en cambio propone una serie de argumentos que desarrolla a partir de los mismos términos empleados por Aristóteles para fundamentar su tesis, pero indicando las contradicciones que surgen de los mismos. El presente trabajo confronta las diversas posiciones de ambos maestros sobre el tema, analizando aproximaciones y divergencias en función de la base común ejemplarista, para arribar a una posible solución en el marco de la teoría de los trascendentales.

Un relámpago en la noche : interpretación de la relación entre temporalidad, amor y tiempo en F. W. J. Schelling

First, the article distinguishes, in Schelling´s philosophy, successivity and extaticoriginary temporality, and contends that the latter can be conceived as co-temporalization. Secondly, an analysis of loveis advanced as an experience in which co-temporalization is consummated, and it is shown how in the erotic pathos, through an empathic movement of overdetermination, the ecstases are sublated as such and “condensed" in an instant of eternity. Finally, the author differentiates temporality and the real-actual time that Schelling conceives as the continuity of discontinuous temporalities. Special attention is payed to the importance of Schelling´s thought for the current discussion on time.

La significación ontológico-existencial del tiempo en Gabriel Marcel

Gabriel Marcel entiende que el tiempo no puede considerarse como un dato objetivo solamente, sino que tiene su sentido primordial en su carácter vivido. Así, el tiempo se comprende desde el registro del presente, con su tensión de pasado y futuro. La vida misma supone una cierta interpretación del tiempo vivido, articulándola a partir de acontecimientos vitales centrales en la propia vida y orientada a una trascendencia que la signifique. Pero es en las experiencias cúlmenes de la vida humana, como el sacrificio, la fidelidad, la esperanza y la fe que el tiempo roza la eternidad, entendida como plenitud de lo vivido.

La polémica acerca de la generación del mundo en el tiempo : Plotino frente a sus predecesores

En este trabajo analizaremos algunos de los argumentos que Plotino ofrece en su tratado II, 1 (Sobre el Cielo, el 40 en el orden cronológico) para sostener la eternidad del mundo sin que esto signifique, a sus ojos, un distanciamiento de las enseñanzas del Timeo platónico. Nos concentraremos en las objeciones que Plotino formula en el primer capítulo del tratado a dos argumentos que defienden la eternidad del cosmos e intentaremos mostrar que, aunque es posible hallar estos dos argumentos en el Timeo, no es hacia este diálogo a donde Plotino dirige sus críticas. En efecto, sostenemos que es importante tener en cuenta las perspectivas divergentes a este respecto de Atico y de Aristóteles puesto que podrían contribuir, por una parte, a iluminar el modo según el cual Plotino reelabora la filosofía platónica y, por otra, a poner de manifiesto los supuestos metafísicos que subyacen a su postulación de la eternidad del mundo

La polémica acerca de la generación del mundo en el tiempo : Plotino frente a sus predecesores

En este trabajo analizaremos algunos de los argumentos que Plotino ofrece en su tratado II, 1 (Sobre el Cielo, el 40 en el orden cronológico) para sostener la eternidad del mundo sin que esto signifique, a sus ojos, un distanciamiento de las enseñanzas del Timeo platónico. Nos concentraremos en las objeciones que Plotino formula en el primer capítulo del tratado a dos argumentos que defienden la eternidad del cosmos e intentaremos mostrar que, aunque es posible hallar estos dos argumentos en el Timeo, no es hacia este diálogo a donde Plotino dirige sus críticas. En efecto, sostenemos que es importante tener en cuenta las perspectivas divergentes a este respecto de Atico y de Aristóteles puesto que podrían contribuir, por una parte, a iluminar el modo según el cual Plotino reelabora la filosofía platónica y, por otra, a poner de manifiesto los supuestos metafísicos que subyacen a su postulación de la eternidad del mundo

La polémica acerca de la generación del mundo en el tiempo : Plotino frente a sus predecesores

En este trabajo analizaremos algunos de los argumentos que Plotino ofrece en su tratado II, 1 (Sobre el Cielo, el 40 en el orden cronológico) para sostener la eternidad del mundo sin que esto signifique, a sus ojos, un distanciamiento de las enseñanzas del Timeo platónico. Nos concentraremos en las objeciones que Plotino formula en el primer capítulo del tratado a dos argumentos que defienden la eternidad del cosmos e intentaremos mostrar que, aunque es posible hallar estos dos argumentos en el Timeo, no es hacia este diálogo a donde Plotino dirige sus críticas. En efecto, sostenemos que es importante tener en cuenta las perspectivas divergentes a este respecto de Atico y de Aristóteles puesto que podrían contribuir, por una parte, a iluminar el modo según el cual Plotino reelabora la filosofía platónica y, por otra, a poner de manifiesto los supuestos metafísicos que subyacen a su postulación de la eternidad del mundo

Machiavelli's reading of Aristotle. A Reassessment

La tesi si propone di dimostrare la presenza e l'utilizzo nel pensiero di Niccolò Machiavelli di categorie e concettualizzazioni derivate dalla riflessione aristotelica.

The future of the Eurozone and the role of the German Constitutional Court. Research Papers in Law, 05/2012

[Introduction.] Necessary reforms towards a deepened and increased European shaped economic, financial and budgetary policy, paraphrased with the term “fiscal union”, could possibly reach constitutional limits. In its EFSF judgment1, the German Constitutional Court, following the Lisbon judgment in which certain government tasks were determined as being part of the “constitutional identity”2, connected the budget right of the parliament via the principle of democracy to the eternity clause of Art. 79 para 3 Basic Law. A transfer of essential parts of the budget right of the German Bundestag, which would be in conflict with the German constitution, is said to exist when the determination of the nature and amount of the tax affecting the citizens is largely regulated on the supranational level and thereby deprived of the Bundestag’s right to disposition. A reform of the Economic and Monetary Union that touches the core of the budget right can, according to the German Federal Court, with regard to Art. 79 (3) of the Basic Law only be realized by way of Art. 146 of the Basic Law, thus with a new constitution given by the people that replaces the Basic Law.3