scholarly journals Søren Kierkegaard. La melancolía como fundamento de la existencia estética. Søren Kierkegaard. The Melancholy as the Foundation of Aesthetic Existence

2017 ◽  
Author(s):  
Alejandro Peña Arroyave
Keyword(s):  
Soren Kierkegaard ◽  
Critical Distance ◽  
German Romanticism ◽  
Work Of Art ◽  
The World ◽  
The Aesthetic

En diálogo con el Romanticismo alemán, Kierkegaard construye en O lo uno O lo otro el perfil de quien vive estéticamente como culminación de los ideales estéticos románticos. En el Romanticismo, la ironía se convierte en el elemento esencial a tal forma de vida, ya que permite alejamiento de la realidad en tanto superioridad de un yo que se concibe absoluto, mediante un distanciamiento crítico que le permite contemplarse a sí mismo como obra de arte. Sin embargo, desde la reelaboración de Kierkegaard, puede mostrarse que la ironía es el instrumento para aparecer en el mundo como yo absoluto y dominador, pero el fundamento de la existencia estética permanece anclado en la melancolía. La tesis del escrito consiste en mostrar precisamente que el elemento oculto en la existencia estética es la melancolía en la medida que determina una visión quebrada del mundo y por ello una disputa entre hombre y realidad.In discussion with German Romanticism, Kierkegaard built in Either/Or the profile who lives aesthetically as the culmination of the romantic aesthetic ideals. In Romanticism, the irony becomes so essential to life, allowing detachment from reality as superiority of me who is conceived absolutely, by means of a critical distance that it allows him to be contemplate himself as a work of art. However, in the Kierkegaard’s reprocessing, it can be shown that irony is the instrument to appear in the world as absolute and dominant, but the foundation of aesthetic existence remains anchored in the melancholy. The thesis of this paper is to show precisely that hidden element in the aesthetic existence is the melancholy in the measure that determines a broken vision of the world and therefore a dispute between man and reality.

scholarly journals Mihai Eminescu – floral aesthetic codes

2021 ◽  
Vol 29 (1) ◽  
pp. 111-114
Author(s):  
Carmen Darabus
Keyword(s):  
Spiritual Life ◽  
Blue Flower ◽  
German Romanticism ◽  
Literary Works ◽  
Objective World ◽  
The Real ◽  
Real Nature ◽  
The World ◽  
The Aesthetic ◽  
Relationship Of

The aim of investigation. The floral symbol manifests intself according to the aesthetic codes of each literary era. For romantic creators the outside world begins to lose its meaning so that the real nature will be subordinated by them to the inner movements of feelings. The literary motif of the blue flower consecrated by Novalis in German romanticism is the desire to access a higher spiritual life because in romanticism literature becomes a means of knowing the world not just mirroring it, no matter how elaborate this reflection. With reverberation in Mihai Eminescu`s poetry this floral motif is originally autochthonous along with other floral aesthetic codes. The method of research. Constructive comparativism or third-degree comparativism is the method used amd is based on relationship of dependence or influence between at least two texts. Thus, there are certain myths, themes, motives that radiate from one culture to another, from one era to another, enriching their meaning according to new visions about the world and life. Conclusion. From the dawn of literature until now aesthetic codes including floral ones have been constant they being part of the mythical structure of humanity. The relation between literary works, the contacts berween national literatures and the circulation in time of ideas materialize in the taking of some forms, of some suggestions regarding the stylistic construction or the interpretation of the phenomena from the objective world.

scholarly journals The Ballad „Meșterul Manole”: an Archetypal Interpretation

Philologia ◽  
2021 ◽  
pp. 119-126
Author(s):  
Tatiana Butnaru ◽  
Keyword(s):  
Sacred Space ◽  
Human Sacrifice ◽  
Aesthetic Perception ◽  
Human Spirit ◽  
Work Of Art ◽  
Distinctive Features ◽  
Life And Death ◽  
Historical Significance ◽  
The World ◽  
The Aesthetic

In this article, the interpretation of the ballad „Meșterul Manole” found expression in an archetypal perspective, in correlation with the message of ideas, the legendary-historical significance and the sources of mythical inspiration. A symbol of the aspiration for the perfection of a work of art, the ballad is a masterpiece of universal inspiration, where the motive of human sacrifice in the service of a social, aesthetic, spiritual ideal becomes the essence of our millennial spirituality, is the artistic synthesis of a sacred space of values their fundamentals. One of the distinctive features of the ballad is the opening to new areas of mythical transcendence, orientation to some original images, with an ancient mythological substratum, prone to successive changes, to reveal new dimensions in the aesthetic perception of the world, in the context of serious meditations on life. and death, fulfillment, and sacrifice, about the perpetuation of the human spirit through creation.

“Tangled in a Golden Mesh”: Virginia Woolf and the “Deceptiveness” of Beauty

2017 ◽  
Author(s):  
Matthew Mutter
Keyword(s):  
Virginia Woolf ◽  
Aesthetic Experience ◽  
Moral Order ◽  
Work Of Art ◽  
Political Criticism ◽  
The Sublime ◽  
The World ◽  
Secular Modernity ◽  
The Aesthetic

There has been a small movement among recent critics and philosophers to rehabilitate the reputation of beauty, which suffered under the modernist fascination with ugliness, Romantic and postmodern prejudice in favor of the sublime, and political criticism of beauty as elitist, inefficacious, and complicit with injustice. This chapter seeks to reframe these debates by examining the link between beauty and religious ontologies. Weber, following Nietzsche, insisted that secular modernity had broken sympathetic relations between beauty and goodness, but in Woolf’s novels the beautiful cannot shed its theological aura: its promise of reconciliation, peace, and divine benevolence. Woolf’s famous conception of “the world as a work of art”—which has, nevertheless, no “creator”—remains entangled in the aesthetic theodicies she repudiates. Her novels struggle to conceptualize secular, mundane models of beauty while simultaneously clinging to intimations of a metaphysical and moral order implicit in aesthetic experience. Beauty is, in her writing, the last and most intractable stronghold of mystical feeling.

Patheticness and the Mundane Phenomenalisation of Transcendence according to Kierkegaard

Open Theology ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. 332-346
Author(s):  
Maria Gołębiewska
Keyword(s):  
Soren Kierkegaard ◽  
Phenomenal Character ◽  
Subjective Response ◽  
The Real ◽  
The World ◽  
The Aesthetic ◽  
Individual Existence

Abstract Referring to the Platonic division between the transcendent and the immanent world as but a manifestation of the former, Søren Kierkegaard grasped the phenomenal character of the earthly world. According to Kierkegaard, in Transcendence, God is, and the transcendent Ideas exist as patterns of beings given to us in temporality, the fontal phenomenal character of which (as manifestations) intertwines with the real mundane ontological character. Kierkegaard argued against the Hegelian theory of dialectics, as well as the pathos theory, presenting dialecticity and patheticness as two ways in which the existing subject refers to the immanent world of temporality and the spiritual realm of Transcendence. The process of phenomenalisation, accomplished along with the existence of all earthly beings, is accompanied by a singular, subjective response of each individual to the immanent world. This response assumes the form of a dialectical balanced reaction, or a pathetic, hyperbolic, in the aesthetic, ethical and religious stages of individual existence (in the religious stage, it is a response to the world of Transcendence). The paper is dedicated to discussing the relations of the process of the phenomenalisation of Transcendence to its individual, religious responses, particularly the relations to the pathetic type of religious response, as indicated by Kierkegaard.

scholarly journals SESTINA DALAM SUDUT PANDANG ESTETIKA MONROE. C. BERDSLEY

2019 ◽  
Vol 1 (1) ◽  
pp. 37
Author(s):  
I Wayan M. Dhamma Narayanasandhy
Keyword(s):  
Literary Work ◽  
Elizabeth Bishop ◽  
Aesthetic Theory ◽  
Work Of Art ◽  
Literary Works ◽  
The World ◽  
The Creation ◽  
The Aesthetic

Setiap karya musik yang dinyanyikan, biasanya memiliki sebuah lirik yang ikut andil di dalamnya. Kebanyakan, penciptaan sebuah lirik terinspirasi dari sebuah puisi. Banyak sekali jenis-jenis puisi di dunia, salah satunya adalah puisi Sestina. Puisi sestina adalah salah satu puisi kuno yang tidak memiliki unsur rima tetapi memiliki algoritma repetisi yang disebut circular of sestina. Dalam sebuah karya seni, selalu memiliki suatu estetika yang terkandung di dalamnya. Dengan meninjau lebih dalam tentang estetika, penelitian ini berfokus pada teori estetika yang dikemukakan oleh Monroe C. Berdsley. Tujuan penelitian ini adalah untuk mengetahui jenis karya sastra sestina dalam sudut pandang teori estetika dari Monroe C. Berdsley. Penelitian ini bersifat deskriptif dengan sebuah pendekatan yang menjurus pada studi kepustakaan. Hasil dari penelitian ini adalah menjelaskan tentang ketiga unsur penting teori estetika Monroe yaitu Intensity, Complexity, dan Unity yang terdapat dalam suatu karya sastra sestina dengan menggunakan contoh karya puisi “Sestina” yang diciptakan oleh Elizabeth BishopEvery piece of music that is sung, usually has a lyrics that contributes to it. Mostly, the creation of a lyrics is inspired by a poem. There are so many types of poetry in the world, one of which is Sestina's poetry. Sestina poetry is one of the ancient poems that has no rhyme element but has a repetition algorithm called the circular of sestina. In a work of art, always has an aesthetic contained in it. With a deeper review of aesthetics, this study focuses on the aesthetic theory proposed by Monroe C. Berdsley. The purpose of this study was to find out the types of Sestina's literary works in Monroe C. Berdsley's aesthetic theory. This research is descriptive with an approach that leads to the study of literature. The results of this study are to explain the three important elements of Monroe aesthetic theory, namely Intensity, Complexity, and Unity contained in a sestina literary work using the example of the poem "Sestina" created by Elizabeth Bishop

scholarly journals A poética da incerteza de Carlos Drummond de Andrade em “A máquina do mundo” / The Poetic of Uncertainty of Carlos Drummond de Andrade in the Poem “A máquina do mundo”

2020 ◽  
Vol 29 (2) ◽  
pp. 183
Author(s):  
Cristiano De Sales ◽  
Jordana Silva Matos
Keyword(s):  
Aesthetic Experience ◽  
Close Reading ◽  
Work Of Art ◽  
Carlos Drummond De Andrade ◽  
The World ◽  
The Aesthetic

Resumo: O texto propõe uma leitura do poema “A máquina do mundo”, de Carlos Drummond de Andrade, que demonstra como o homem moderno só pode fazer diferença no mundo se assumir o devir (que entendemos a partir de Nietzsche) e ocupar os instantes de incertezas que o confrontam na estrada pedregosa que é, a rigor, a vida. E, como obra de arte que é, a experiência estética que o poema provoca conduz o leitor não apenas à compreensão do que seja um niilismo moderno, mas, antes, esgarça as hesitações e os limites da própria filosofia que se julga capaz de explicar as contradições do mundo.Palavras-chave: Carlos Drummond de Andrade; A máquina do mundo; incerteza; niilismo; moderno.Abstract: This text proposes a close reading of the poem “A máquina do mundo”, by Carlos Drummond de Andrade, showing that the modern man can only makes a difference in the world, if he takes over the devir (according Nietzsche) and occupies the moments of uncertainties, which he face on the stony road that is, strictly speaking, life. And, as a work of art on its own, the aesthetic experience that the poem produces leads the reader to the comprehension of modern nihilism, as well as pulls on the hesitations and the limitations of philosophy itself, considering capability of explaining the contradiction of the world.Keywords: Carlos Drummond de Andrade; A máquina do mundo; uncertainties, nihilism; modern.

As dúvidas de Kierkegaard: ou sobre o legado pedagógico do romantismo alemão

2018 ◽  
Vol 11 (1) ◽  
pp. 223-238
Author(s):  
Jean Vargas
Keyword(s):  
Nineteenth Century ◽  
Soren Kierkegaard ◽  
German Idealism ◽  
Sao Paulo ◽  
Harvard University ◽  
German Romanticism ◽  
São Paulo ◽  
Don Juan ◽  
Cambridge University ◽  
Belo Horizonte

Resumo: O artigo leva em conta a recepção de Kierkegaard sobre o modo como os românticos lidam com o conhecimento e argumenta que o dinamarquês tem algo a dizer sobre temáticas de educação que estão hoje na ordem do dia. O artigo mostra ainda como Kierkegaard lida com temas transdisciplinares e em que medida a herança romântica, em contraposição ao legado iluminista, o ajuda a conceber sua reflexão pedagógica e existencial.Palavras-chave: Kierkegaard. Educação. Romantismo alemão. Pedagogia. Dúvida Abstract: The article takes into account Kierkegaard's reception of how the romantics deal with knowledge and argues that the Danish has something to say about education issues that are today the order of the day. The article also shows how Kierkegaard deals with transdisciplinary themes and to what extent the romantic heritage, in contrast to the enlightened legacy, helps him to conceive his pedagogical and existential reflection. Keywords: Kierkegaard. Education. German romanticism. Pedagogy. Doubt. REFERÊNCIASBEISER, Frederick. German Idealism: The Struggle against subjectivism 1781-1801. Londres: Harvard University Press, 2002.BERLIN, Isaiah. As raízes do romantismo. São Paulo: Três Estrelas, 2015.GRAMMONT, Guiomar de. Don Juan, Fausto e o Judeu Errante em Kierkeggard. Petrópolis: Catedral das Letras, 2003.KIERKEGAARD, Søren. Johannes Clímacus ou é preciso duvidar de tudo. São Paulo: Martins Fontes, 2003.KIERKEGAARD, Søren. Ponto de vista explicativo da minha obra de escritor: uma comunicação direta, relatório à História. Tradução de João Gama. Lisboa: Edições 70, 2002._______. Ou-ou: um fragmento de vida. Volume I. Tradução de Elisabete M. de Sousa. Lisboa: Relógios’d’água, 2013a._______. Pós-escrito conclusivo não científico às Migalhas filosóficas: coletânea mímico-patético-dialética, contribuição existencial, por Johannes Climacus.  Tradução de Álvaro L. M, Valls. Petrópolis: Vozes, 2013. v.1._______. Temor e Tremor. Tradução de Maria José Marinho. São Paulo: Abril cultural, 1974. (Os pensadores).LÖWITH, Karl. De Hegel à Nietzsche. Tradução de Rémi Laureillard, Paris: Gallimard, 1969.PATTINSON, George. Kierkegaard, Religion and the Nineteenth-Century Crisis of Culture. Cambridge : Cambridge University Press, 2004.SAFRANSKI, Rudiger. Romantismo: uma questão alemã. Tradução de Rita Rios. São Paulo: Estação Liberdade, 2010.VALLS, Álvaro; MARTINS, Jasson. (Org.). Kierkegaard no nosso tempo. São Leopoldo: Nova Harmonia, 2010.VARGAS, Jean. Kierkegaard entre a existência e o niilismo. Puc Minas: Sapere Aude, Belo Horizonte, v.6–n.12, Jul./Dez.2015, p. 657-671.VARGAS, Jean. Indivíduo e multidão: uma reflexão sobre o lugar da ética no pensamento de Søren Kierkegaard. UFMG: Outramargem, Belo Horizonte, V.  - n., 2 Semestre 2014, p. 99-109.

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

Textual Events

2018 ◽  
Keyword(s):  
Cultural Norms ◽  
Homeric Hymns ◽  
The World ◽  
Real Performance ◽  
Textual Traditions ◽  
The Aesthetic ◽  
The Relationship ◽  
Ritual Practices ◽  
Formal Features

Recent decades have seen a major expansion in our understanding of how early Greek lyric functioned in its social, political, and ritual contexts. The fundamental role song played in the day-to-day lives of communities, groups, and individuals has been the object of intense study. This volume places its focus elsewhere, and attempts to illuminate poetic effects that cannot be captured in functional terms. Employing a range of interpretative methods, it explores the idea of lyric performances as textual events. Several chapters investigate the pragmatic relationship between real performance contexts and imaginative settings. Others consider how lyric poems position themselves in relation to earlier texts and textual traditions, or discuss the distinctive encounters lyric poems create between listeners, authors, and performers. In addition to studies that analyse individual lyric texts and lyric authors (Sappho, Alcaeus, Pindar), the volume includes treatments of the relationship between lyric and the Homeric Hymns. Building on the renewed concern with the aesthetic in the study of Greek lyric and beyond, Textual Events re-examines the relationship between the poems’ formal features and their historical contexts. Lyric poems are a type of sociopolitical discourse, but they are also objects of attention in themselves. They enable reflection on social and ritual practices as much as they are embedded within them. As well as enacting cultural norms, lyric challenges listeners to think about and experience the world afresh.

The Power of Everyday Aesthetics in World-Making

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Quality Of Life ◽  
Social Responsibility ◽  
Interpersonal Relationships ◽  
Daily Life ◽  
Personal Life ◽  
Moral Virtues ◽  
Everyday Aesthetics ◽  
The World ◽  
The Aesthetic

This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.

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