Šillers, Gēte un Rainis par spēli: kultūrfilozofiski NAIVĀ un SENTIMENTĀLĀ izpratnes krustpunkti

2020 ◽  
pp. 336-361
Author(s):  
Olga Senkāne
Keyword(s):  
Friedrich Schiller ◽  
Play Theory ◽  
The Third ◽  
Cultural Philosophy ◽  
Aesthetic Field ◽  
The Common ◽  
The Aesthetic ◽  
Missing Element ◽  
The Ideal

The study attempts to find the common in the cultural philosophy of Friedrich Schiller (1759–1805) and Johann Wolfgang Goethe (1749–1832) and to discover the role of Schiller’s play theory in the formation of Goethe’s tragedy “Faust” in order to clarify subsequently the possible inspiration of Latvian writer Rainis (1865–1929), the first renderer of “Faust” in Latvian, from Schiller through Goethe’s text. The cultural philosophy of Schiller and Goethe is based on the idea of the sick and healthy culture or its cultural and pre-cultural state. The ideal of a healthy culture stems from the achievement of a former pre-cultural state: to synchronize the incompatible, usually separated in time, functioning one by one sense and rational passions with the third passion – the play. In ancient art, the observed balance of passions is permanently lost; one can only aspire to it perpetually and yearn morally. The endless struggle is always represented by the aesthetic play or balancing product – semblance, a characteristic feature of a cultural state, an interplay between reality and truth, nature and thinking. The aesthetic play, creation of individual forms, is the only path to human perfection – the general form (concept and law) because it respects and reconciles the two basic passions. Semblance or art confirms a person’s desire to return to the balance of passions and regain lost perfection. The type of culture can be determined depending on the attitude towards polar passions and the success or failure of a balance between them. Semblance or art offers solutions for finding the essence of a human being and renders it in two ways: 1) selects common forms (concepts) and reveals them with original content (Goethe and Rainis); 2) chooses original shapes (ideas, ideals) and discovers them with recognizable content (Schiller). Images by Goethe and Rainis are characterized by symptoms of lack. To recover the missing element, you have to return to the balance. The direction and sequence of the balancing movement are pointed out by Goethe and Rainis according to Schiller’s vision: nature is at the back, idea – in the front, but between them is the play. The indicator of success or failure of balancing is the followers or descendants. As long as the artist suppresses some of the passions or is satisfied with one at a time, then another, he does not enter the aesthetic field of the play, his perfection does not manifest itself and no one follows him. Faust’s pursuit of perfection is difficult because he is in the power of sensuality and will; he must go a long way of delusion to get into the field of play. Therefore, in the finale of the tragedy, when he finally activates his dormant will, he can only imagine the desirable but he cannot implement it. He marks the shape in the semblance but leaves it without matter. Also, Tots, an image created by Rainis, gets into the field of play (however with the help of others) and finds the willpower within himself, activates it, but is unable to create anything. In the text of Goethe and Rainis, willpower collides with time and freedom clashes with necessity. To return and align passions is only possible in the imagination which is the key to the artist’s immortality.

La troisième dimension — De la fonction éthique et esthétique du décor dans le théâtre de machines français du XVIIe siècle

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut
Keyword(s):  
Seventeenth Century ◽  
Character Traits ◽  
Optical Illusion ◽  
Stage Design ◽  
The Third ◽  
Adequate Representation ◽  
Third Dimension ◽  
Xviie Siecle ◽  
The Aesthetic

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.

scholarly journals Fest and revolt In Alboroto y Motín de Indios de México / Fiesta y revuelta en Alboroto y Motín de indios de México

2020 ◽  
pp. 44-56
Author(s):  
Leonor Taiano
Keyword(s):  
Common Good ◽  
New Spain ◽  
Active Role ◽  
17Th Century ◽  
Collective Consciousness ◽  
The Common Good ◽  
The Third ◽  
Starting Point ◽  
The Common

Este estudio examina la manera cómo Carlos de Sigüenza y Góngora describe el binomio fiesta-revuelta en Alboroto y motín de indios de México. La investigación está estructurada en cinco partes. La primera toma como punto de partida el concepto de polis y los órdenes que rigen el bien común. La segunda alude a la percepción del fasto desde las diferentes perspectivas de los miembros de la polis novohispana. La tercera parte analiza la importancia del letrado en la organización virreinal. En la cuarta parte se examina el papel activo de las indias en la organización y desarrollo de la revuelta. Finalmente, en la quinta parte, propongo la existencia de una conciencia colectiva plebeya en el virreinato de Nueva España. A través de este análisis se llega a conclusión de que el motín de 1692 presenta las características propias de las revueltas que tuvieron lugar en los territorios españoles a lo largo del siglo XVII, en los cuales, durante el momento festivo, surgía una acción contestataria que trataba de imponer la isonomía en la polis This research analyses how Carlos de Sigüenza and Góngora describes the dichotomy of festivity-revolt in Alboroto y motín de Indios de México. This study is structured in five parts. The first one takes as its starting point the concept of polis and the regulations for the common good. The second one alludes to the Spanish splendor produced in the different members of Novohispanic polis. The third part analyses the letrado’s function within the viceregal organization. The fourth part examines the active role of Female Indigenous in the revolt’s organization and development. Finally, in the fifth part, I propose the existence of a Plebeian collective consciousness within the viceroyalty of New Spain. Through this analysis, the study concludes that the revolt that took place In 1692 has all the characteristics of the revolts that happened in the Spanish territories throughout the 17th century, in which, during a celebratory event, there could arise insurrectionary actions to impose the isonomia in the polis.

N.Ya. Danilevsky’s Participation in M.N. Katkov’s Periodicals in 1880s

2020 ◽  
Vol 58 ◽  
pp. 135-148
Author(s):  
Elena V. Perevalova
Keyword(s):  
Foreign Policy ◽  
Charles Darwin ◽  
The Third ◽  
Liberal Democratic ◽  
The Common

The article analyzes the participation of N.Ya. Danilevsky in the periodicals of the authoritative conservative publicist of the 1860–1880s M.N. Katkov – “Russian Vestnik” magazine and “Moscow Vedomosti” journal. The author identifies the reasons that brought together the thinker and the editors of influential conservative periodicals and analyzes the common views of Danilevsky and Katkov on a number of important issues of Russian domestic and foreign policy. Special attention is paid to the “Slavic question”, which was differently interpreted by Danilevsky and the writers of the Katkov’s circle, however that did not prevent the thinker to participate in those periodicals in the 1880s. The author of the article attempts to determine the role of the fragments of the third, unfinished part of Danilevsky’s work “Darwinism” published after his death in the «Russian Vestnik», in the polemics over the teachings of Charles Darwin that went on in Katkov's periodicals and the liberal democratic press in the 1880s.

appealed to the Queen on being besieged by the wild sense, especially in the concluding cantos, of leaving Irish (see Vi4.1n). In reading this ‘darke conceit’, an iron world to enter a golden one. But do these no one could have failed to recognize these allusions. ways lead to an end that triumphantly concludes the The second point is that Spenser’s fiction, when 1596 poem, or to an impasse of the poet’s imaginat-compared to historical fact, is far too economical ive powers? For some readers, Book VI relates to the with the truth: for example, England’s intervention earlier books as Shakespeare’s final romances relate in the Netherlands under Leicester is, as A.B. Gough to his earlier plays, a crowning and fulfilment, ‘a 1921:289 concludes, ‘entirely misrepresented’. It summing up and conclusion for the entire poem and would seem that historical events are treated from for Spenser’s poetic career’ (N. Frye 1963:70; cf. a perspective that is ‘far from univocally celebratory Tonkin 1972:11). For others, Spenser’s exclamation or optimistic’, as Gregory 2000:366 argues, or in of wonder on cataloguing the names of the waters what Sidney calls their ‘universal consideration’, i.e. that attend the marriage of the Thames and the what is imminent in them, namely, their apocalyptic Medway, ‘O what an endlesse worke haue I in hand, import, as Borris 1991:11–61 argues. The third | To count the seas abundant progeny’ (IV xii point, which is properly disturbing to many readers 1.1–2), indicates that the poem, like such sixteenth-in our most slaughterous age, especially since the century romances as Amadis of Gaul, could now go matter is still part of our imaginative experience as on for ever, at least until it used up all possible virtues Healy 1992:104–09 testifies, is that Talus’s slaughter and the poet’s life. As Nohrnberg 1976:656 aptly of Irena’s subjects is rendered too brutally real in notes, ‘we find ourselves experiencing not the allegorizing, and apparently justifying, Grey’s atrocit-romance of faith or chastity, but the romance of ies in subduing Irish rebels (see V xii 26–27n). Here romance itself ’. For still others, there is a decline: Spenser is a product of his age, as was the Speaker ‘the darkening of Spenser’s spirit’ is a motif in many of the House of Commons in 1580 in reporting studies of the book, agreeing with Lewis 1936:353 the massacre of Spanish soldiers at Smerwick: ‘The that ‘the poem begins with its loftiest and most Italians pulled out by the ears at Smirwick in solemn book and thence, after a gradual descent, Ireland, and cut to pieces by the notable Service of a sinks away into its loosest and most idyllic’; and with noble Captain and Valiant Souldiers’ (D’Ewes Neuse 1968:331 that ‘the dominant sense of Book 1682:286). As this historical matter relates to Book V, VI is one of disillusionment, of the disparity between it displays the slaughter that necessarily attends the the poet’s ideals and the reality he envisions’; or that triumph of justice, illustrating the truth of the common the return to pastoral signals the failure of chivalry in adage, summum ius, summa iniuria, even as Guyon’s Book V to achieve reform (see DeNeef 1982b). destruction of the Bower shows the triumph of tem-Certainly canto x provides the strong sense of an perance. This is justice; or, at best, what justice has ending. As I have suggested, ‘it is as difficult not to become, and what its executive power displayed in see the poet intruding himself into the poem, as it is that rottweiler, Talus, has become, in our worse than not to see Shakespeare in the role of Prospero with ‘stonie’ age as the world moves towards its ‘last the breaking of the pipe, the dissolving of the vision, ruinous decay’ (proem 2.2, 6.9). In doing so, Book and our awareness (but surely the poet’s too) that his V confirms the claim by Thrasymachus in Plato’s work is being rounded out’ (1961a:202). Republic: justice is the name given by those in power Defined as ‘doing gentle deedes with franke to keep their power. It is the one virtue in the poem delight’ (vii 1.2), courtesy is an encompassing virtue that cannot be exercised by itself but within the book in a poem that sets out to ‘sing of Knights and Ladies must be over-ruled by equity, circumvented by mercy, gentle deeds’ (I proem 1.5). As such, its flowering and, in the succeeding book, countered by courtesy. would fully ‘fashion a gentleman or noble person in vertuous and gentle discipline’ (Letter to Raleigh 8). Courtesy: Book VI

2014 ◽  
pp. 36-36
Keyword(s):  
Strong Sense ◽  
Executive Power ◽  
House Of Commons ◽  
Historical Events ◽  
The Third ◽  
The World ◽  
Historical Fact ◽  
The Common ◽  
The One

Melancholy, Hanuš Jelínek and Miloš Marten

2016 ◽  
Vol 61 (1-2) ◽  
pp. 77-82
Author(s):  
Jana Kantoříková
Keyword(s):  
Cultural Politics ◽  
20Th Century ◽  
French Literature ◽  
Life Experience ◽  
Common Interest ◽  
Paul Claudel ◽  
The Third ◽  
History Of ◽  
The Common

The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation‟ around 1913 by means of the common interest in the work and personality of Paul Claudel.

scholarly journals The Role of (Christian) Spirituality in the Economy in the Light of Laudato si'

2019 ◽  
Vol 34 (1) ◽  
pp. 73-86 ◽  
Author(s):  
Ivan Platovnjak
Keyword(s):  
Common Good ◽  
New Economy ◽  
Economic Recovery ◽  
Christian Spirituality ◽  
Economic Crises ◽  
Pope Francis ◽  
The Common Good ◽  
The Third ◽  
The Common

The global economic crises at the beginning of the third millennium revealed the harmful consequences for the whole of society and the environment that the myth of the “deified” economy brings. Many researchers have been encouraged to begin exploring the causes of crises intensively. The author thinks that it is more important to look for ways to implement the economy in a way that serves the common good and a common home. The path to renewal of the economy the author sees described primarily in the direction that Pope Francis presented in the Laudato si'. Therefore, he puts forward the thesis that in the light of Laudato si' (Christian) spirituality plays an important role in the economy. To confirm the thesis, the author briefly defines economics and spirituality. Then follows a presentation of fundamental orientations based on the analysis in Laudato si' that could enable economic recovery. In the end, the author describes how a renewed Christian spirituality and dialogue can help individuals and communities make basic guidelines for a new economy.

scholarly journals Dewey After the End of Art

2020 ◽  
Vol 17 (2-3) ◽  
pp. 146-169
Author(s):  
Roberta Dreon
Keyword(s):  
Summer School ◽  
Aesthetic Experience ◽  
Community Life ◽  
Theoretical Level ◽  
The Arts ◽  
The Common ◽  
End Of Art ◽  
Art As Experience ◽  
The Aesthetic

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.

scholarly journals HISTORY AS A WAY TO THE IDEAL

2018 ◽  
pp. 18-23
Author(s):  
E. F. Kazakov ◽  
V. I. Krasikov
Keyword(s):  
Middle Ages ◽  
Driving Forces ◽  
Self Esteem ◽  
Identity Crisis ◽  
Historical Period ◽  
Modern Times ◽  
The Third ◽  
The Social ◽  
The Ideal

The article examines the role of the social ideal in history according to the evolution of the Perfect Person image. The Ideal is understood as the image of the appropriate that allows one to assess the things in existence and direction of its development. The pursuit of the Ideal, the essential intention of the person required for their incarnation is one of the driving forces of history. Every historical period constructs its own image of a perfect person and strives to get closer to this image. Ideas about the Perfect Man have been shaped throughout the whole human history, which reflects the permanent dissatisfaction that is inherent to human – dissatisfaction with himself and the world around, the lack of implementation of the essence in their existence, intention to gain their own deepest identity. The first Perfect Man was a Beast. In the prehistoric period it was the Outer Beast that had to be conquered, whereas in antiquity it was the Inner Beast. That was when the first identity crisis arose as a result of inadequate self-esteem ("man as the measure of all things"). The Perfect Man of the Middle Ages was God. The Beast now belonged to the inaccessible past, while God was in the unattainable eternal. This was the second identity crisis. In modern times the Perfect Man becomes a Man. The concept of perfection (as a real possibility) within a man becomes domineering. However, depriving a Man of metaphysics leads to the third identity crisis. In modern times the Perfect Man, increasingly, appears to be a Machine as a man devoid of human weaknesses with heightened human qualities. The analogy between human and machine leads to the fourth identity crisis. The New Perfect Man will be a man as a unique result of the development of all human culture, the synthesis of the unique and the universal.

Three Suburbs

2020 ◽  
pp. 19-55
Author(s):  
Allison L. C. Emmerson
Keyword(s):  
Case Studies ◽  
Primary Role ◽  
The Third ◽  
Population Sizes ◽  
The Ideal

“Three Suburbs” examines the three best-preserved Roman suburbs—located at Pompeii, Ostia, and in a recently excavated neighbouhood of Rome itself—to find patterns in their form and development, as well as to understand the forces that first shaped and later dismantled them. Alongside comparative evidence drawn from cities across the peninsula, the case studies indicate that suburbs emerged under Augustus and continued to grow through the early and mid-Imperial periods, before declining in the third and fourth centuries CE. The chapter argues for various factors that determined their rise and fall—not limited to changing population sizes, waxing and waning prosperity, and vicissitudes in Italy’s security—but above all identifies the primary role of changing ideals: inspired by the capital, the ideal city of the Augustan period was open and expansive, while that of the Late Empire was ornamented and defended by impressive fortifications.

The Interaction with Other Areas of the Law

2016 ◽  
Author(s):  
Alexander Mühlendahl ◽  
Dimitris Botis ◽  
Spyros Maniatis ◽  
Imogen Wiseman
Keyword(s):  
Competition Law ◽  
Trade Mark ◽  
Bad Faith ◽  
Trade Marks ◽  
Domain Names ◽  
The Third ◽  
Trade Mark Law ◽  
The Common ◽  
The Relationship

Competition law and the free movement of goods principles have guided the development of trade mark law in Europe. This chapter will examine other relationships. The first part considers the use of trade marks in comparative advertisements. We have seen in Chapter 7 how comparative advertising has delineated the limits of trade mark law. Here the other side of the relationship is examined. Chapter 5 considered whether a geographical name can function and be protected as a trade mark and the limits of such protection. The second part of this chapter gives a flavour of the system of protecting product designations as geographical indications of origin. The third part looks at the clash between trade marks and domain names and the catalysing role of the concept of bad faith. The fourth part is a good example of how one dispute between distinguishing signs can become the common theme of distinct plots performed before different European audiences;

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