Papers by Carlos Idrobo
A photo-biographical sketch of my mentor in philosophical hermeneutics, Professor Carlos B. Gutié... more A photo-biographical sketch of my mentor in philosophical hermeneutics, Professor Carlos B. Gutiérrez (Bogotá, Colombia), former student of Hans-Georg Gadamer and awarded with the Goethe-Medaille in 1989.
Nietzsche-Studien 41 (Walter de Gruyter), Nov 29, 2012
""The wanderer motif played an important role during the 19th-Century German art, literature, and... more ""The wanderer motif played an important role during the 19th-Century German art, literature, and philosophy, mostly because of its capacity for embodiment and for connecting places, discourses, and related motifs like the summit experience and man before a borderline situation. Both Caspar David Friedrich’s and Friedrich Nietzsche’s renditions of this figure add two unexpected aspects: the wanderer staged as a rear-view figure and as a dancer, respectively. The purpose of this paper is to confront these two seldom connections with the wandering experience and its motifs, and to show how the temporal structure of Friedrich’s rear-view figure and Nietzsche’s conception of Zarathustra as a wandering dancer are not only deeply connected with each other, but also with our own experience of time.
Das Motiv des Wanderers spielt in der Kunst, Literatur und Philosophie des 19. Jahrhunderts eine wichtige Rolle, hauptsächlich wegen seiner Fähigkeit zur Verkörperung und zur Verknüpfung von Orten, Diskursen und miteinander verwandten Motiven (wie das des Gipfelerlebnisses und das des Menschen vor einer Grenzsituation). Sowohl Caspar David Friedrich als auch Friedrich Nietzsche verleihen der Figur des Wanderers in zweierlei Hinsicht eine überraschende Wendung: Beide inszenieren sie als Rückenfigur und als Tänzer. Ziel dieses Aufsatzes ist es, diese eigentümlichen Verknüpfungen mit der Erfahrung und den Motiven des Wanderns zu konfrontieren. Auf diese Weise soll gezeigt werden, dass die zeitliche Struktur der Friedrichschen Rückenfigur und Nietzsches Inszenierung Zarathustras als eines wandernden Tänzers nicht nur eine tiefe innere Beziehung aufweisen, sondern auch eng mit unserer Erfahrung der Zeit verbunden sind.""
Since a long time, a rather central motif of my writings has been the so-called rear-view figure ... more Since a long time, a rather central motif of my writings has been the so-called rear-view figure {Rückenfigur, in German}. Over the last three years it has been both one of the main subjects of my on-going PhD research on the romantic figure of the wanderer and of my photographic work, since I started taking it seriously (See for example my series). The Rückenfigur has been for me, on a personal level, a kind of trope, in the sense that it not only has turned away from us, but also challenges me in a way that makes me turn -literally -towards it; so too the direction of my interpretative acts. It goes without saying that a study of the Rückenfigur in Photography is yet to be done (perhaps I will do it in the future), showing how this trope has been there since the beginnings of this artistic craft. A renewed fascination for this figure can be found in today's photography. For instance, I discovered the last few days the Documentary Series Miss President by Youngho Kang and the work of Elina Brotherus; rear-view figures are scattered in some of her series.
En el presente ensayo intentaré considerar un aspecto de la phrónesis aristotélica en su articula... more En el presente ensayo intentaré considerar un aspecto de la phrónesis aristotélica en su articulación con la experiencia de lo simbólico en algunas obras de arte que la representan. Siguiendo aquella rehabilitación de la filosofía práctica aristotélica, iniciada por Heidegger a comienzos del S. XX, Gadamer utiliza a la phrónesis aristotélica como el paradigma de un nuevo tipo de racionalidad, y a su vez, da cuenta de un tipo particular de imágenes que nos guían en el campo moral, llamadas por él Leitbilder. Mi intención es mostrar cómo estas imágenes-directrices se pueden complementar con la experiencia del arte, descubriendo así en algunas obras, como las alegorías de la prudencia de Macchietti, Vouet y Ticiano, el momento normativo que en ellas nos interpela.
El presente ensayo examina los aportes generales de Gadamer a los conceptos de símbolo {Symbol} y... more El presente ensayo examina los aportes generales de Gadamer a los conceptos de símbolo {Symbol} y signo {Zeichen}, partiendo desde Verdad y Método (1960) hasta desarrollos posteriores en ensayos como La actualidad de lo bello (1977). Mi objetivo es mostrar un cambio en la concepción de Gadamer sobre lo simbólico que apunta a darle un peso hermenéutico a estos conceptos estéticos y semióticos. Me interesa, en particular, encontrarle un lugar a lo simbólico dentro del marco general de la hermenéutica gadameriana y ver cómo se complementan mutuamente estos conceptos.
Thesis Chapters by Carlos Idrobo
Interviews by Carlos Idrobo
Ute Krienke: Ein Wanderer in Balance zwischen Abgründen und Gipfelerlebnissen. Interview mit Carlos Idrobo, In: Götterbote - Magazin des Ordens für okkulte Kunst e.V. Nr. 75, "Kulturelles Gedächtnis - Konzepte, Philosophien, Erfahrungen", Marburg 2012 (II), S. 16-27., Aug 2012
Talks by Carlos Idrobo
By the end of the 18th- and the beginning of the 19th-Century, some painters of two somewhat anta... more By the end of the 18th- and the beginning of the 19th-Century, some painters of two somewhat antagonist groups of artists based in Dresden and in Rome, embraced the so-called wandering motif and rediscovered the importance of walking about in shaping the perception of landscape, but in doing so, they also found themselves constructing their own cultural identity. By this time, wandering was not only a cultural symbol, but also an actual praxis among many artists and artisans, out of economic and aesthetical reasons.
For the artist colony in Rome, wandering received a public collective dimension: not only they worked, lived close by or even in the same house together, they also walked about and experienced nature together, and put these experiences in text and images, and in the process, they rediscovered pieces of their own fatherland within foreign landscapes. The artists based in Dresden, on the other hand, and despite the increasing popularity of Mediterranean landscapes, exploring the different regions of the fatherland became a means to retrieve from nature, mostly through a solitary confrontation, the necessary elements to construct a cultural identity.
By taking the examples of Carl Philipp Fohr and Caspar David Friedrich, two important figures of each of these groups, and who embraced walking both as praxis and as an aesthetic necessity, I would like to explore the role that wandering plays in the construction of identity, both personal and cultural, local and global. I will argue that the paradigm of wandering, indeed as counter-movement against the advances of technologies in mobility, not only found an expression within the imagery of both artists, hence becoming part of their artistic production and statements, but it also helps us to understand a deeper sense of belonging and identity construction that is ought to be found through the temporality of walking and contemplation.
Wie viele Themen in Nietzsches Philosophie ist das Thema Tanz ein "Work in progress-. Vor allem h... more Wie viele Themen in Nietzsches Philosophie ist das Thema Tanz ein "Work in progress-. Vor allem hat dieses eine sehr positive Bedeutung, wie Zarathustra selbst sagt: "Und verloren sei uns der Tag, wo nicht Ein Mal getanzt wurde!-(Z, III, Von alten und neuen Tafeln, §23. KSA 4, S.264).
Cuando de noche un amigo Homenaje a Carlos B. Gutiérrez Presentado en el XVII Foro Nacional de Fi... more Cuando de noche un amigo Homenaje a Carlos B. Gutiérrez Presentado en el XVII Foro Nacional de Filosofía Septiembre 2008 Manizales, Colombia Por Carlos Idrobo [email protected]
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Papers by Carlos Idrobo
Das Motiv des Wanderers spielt in der Kunst, Literatur und Philosophie des 19. Jahrhunderts eine wichtige Rolle, hauptsächlich wegen seiner Fähigkeit zur Verkörperung und zur Verknüpfung von Orten, Diskursen und miteinander verwandten Motiven (wie das des Gipfelerlebnisses und das des Menschen vor einer Grenzsituation). Sowohl Caspar David Friedrich als auch Friedrich Nietzsche verleihen der Figur des Wanderers in zweierlei Hinsicht eine überraschende Wendung: Beide inszenieren sie als Rückenfigur und als Tänzer. Ziel dieses Aufsatzes ist es, diese eigentümlichen Verknüpfungen mit der Erfahrung und den Motiven des Wanderns zu konfrontieren. Auf diese Weise soll gezeigt werden, dass die zeitliche Struktur der Friedrichschen Rückenfigur und Nietzsches Inszenierung Zarathustras als eines wandernden Tänzers nicht nur eine tiefe innere Beziehung aufweisen, sondern auch eng mit unserer Erfahrung der Zeit verbunden sind.""
Thesis Chapters by Carlos Idrobo
Interviews by Carlos Idrobo
Talks by Carlos Idrobo
For the artist colony in Rome, wandering received a public collective dimension: not only they worked, lived close by or even in the same house together, they also walked about and experienced nature together, and put these experiences in text and images, and in the process, they rediscovered pieces of their own fatherland within foreign landscapes. The artists based in Dresden, on the other hand, and despite the increasing popularity of Mediterranean landscapes, exploring the different regions of the fatherland became a means to retrieve from nature, mostly through a solitary confrontation, the necessary elements to construct a cultural identity.
By taking the examples of Carl Philipp Fohr and Caspar David Friedrich, two important figures of each of these groups, and who embraced walking both as praxis and as an aesthetic necessity, I would like to explore the role that wandering plays in the construction of identity, both personal and cultural, local and global. I will argue that the paradigm of wandering, indeed as counter-movement against the advances of technologies in mobility, not only found an expression within the imagery of both artists, hence becoming part of their artistic production and statements, but it also helps us to understand a deeper sense of belonging and identity construction that is ought to be found through the temporality of walking and contemplation.
Das Motiv des Wanderers spielt in der Kunst, Literatur und Philosophie des 19. Jahrhunderts eine wichtige Rolle, hauptsächlich wegen seiner Fähigkeit zur Verkörperung und zur Verknüpfung von Orten, Diskursen und miteinander verwandten Motiven (wie das des Gipfelerlebnisses und das des Menschen vor einer Grenzsituation). Sowohl Caspar David Friedrich als auch Friedrich Nietzsche verleihen der Figur des Wanderers in zweierlei Hinsicht eine überraschende Wendung: Beide inszenieren sie als Rückenfigur und als Tänzer. Ziel dieses Aufsatzes ist es, diese eigentümlichen Verknüpfungen mit der Erfahrung und den Motiven des Wanderns zu konfrontieren. Auf diese Weise soll gezeigt werden, dass die zeitliche Struktur der Friedrichschen Rückenfigur und Nietzsches Inszenierung Zarathustras als eines wandernden Tänzers nicht nur eine tiefe innere Beziehung aufweisen, sondern auch eng mit unserer Erfahrung der Zeit verbunden sind.""
For the artist colony in Rome, wandering received a public collective dimension: not only they worked, lived close by or even in the same house together, they also walked about and experienced nature together, and put these experiences in text and images, and in the process, they rediscovered pieces of their own fatherland within foreign landscapes. The artists based in Dresden, on the other hand, and despite the increasing popularity of Mediterranean landscapes, exploring the different regions of the fatherland became a means to retrieve from nature, mostly through a solitary confrontation, the necessary elements to construct a cultural identity.
By taking the examples of Carl Philipp Fohr and Caspar David Friedrich, two important figures of each of these groups, and who embraced walking both as praxis and as an aesthetic necessity, I would like to explore the role that wandering plays in the construction of identity, both personal and cultural, local and global. I will argue that the paradigm of wandering, indeed as counter-movement against the advances of technologies in mobility, not only found an expression within the imagery of both artists, hence becoming part of their artistic production and statements, but it also helps us to understand a deeper sense of belonging and identity construction that is ought to be found through the temporality of walking and contemplation.