Romanticism

About nail care and the ethics of "comme il faut" (Lev Tolstoj's polemic with Puškin) is article focuses on the polemics between Lev Tolstoj and Aleksandr Puškin on questions relating to self-conduct and self-fashioning as expressed in the example of nail care. In the Russian discourse on del'nost', the issue of nail care marks two approaches-which should be differentiated from one another stylistically and ethically-to shaping one's "self": One approach is the code of aesthetic self-representation; the other is the code of resource optimization. Concretely, it concerns the choice between self-representation as a dandy (Puškin) and self-representation as a "del'nyj čelovek" (Tolstoj), i.e., as a fit, suitable, practical person. While Puškin is strongly oriented towards the English Romantic tradition and such figures as Lord Byron or Beau Brummell, Tolstoj in his self-interpretation goes back to the theses of Benjamin Franklin. e paper addresses the question under what circumstances-or rather, with what argumentation and justification-the choice is made for one of the many possible codes and how one distances oneself from the alternatives.

El artículo investiga dos aspectos poco conocidos con relación al pensamiento filosófico de John Henry Newman. Por un lado, Newman anticipa varias intuiciones del pragmatismo, sobre todo en la versión peirceana del mismo. Por el otro, Newman puede ser considerado, en algunos respectos, como un pensador romántico, sobre todo por su relación con Coleridge y Wordsworth. Ambos aspectos ayudan a entender la comprensión newmaniana de la filosofía como forma de vida y de la verdad como actividad humana comprometida e histórica.

➢ A fost poet, jurnalist și membru post-mortem al Academiei Române, fiind recunoscut drept cel mai important poet romantic al literaturii române. ❖ Debut literar: ➢ Debutează cu poezia "La mormântul lui Aron Pumnul", inclusă în broșura "Lăcrămioarele învățăceilor gimnaziști", dedicată profesorului său de limba română, Aron Pumnul. ➢ La 25 februarie 1866, debutează oficial în revista "Familia", condusă de Iosif Vulcan, cu poezia "De-aș avea". ➢ În total, trimite 12 poezii la această revistă. ❖ Studii și activitate universitară: ➢ La vârsta de 19 ani, devine student la Universitatea din Viena, unde studiază filozofia, dreptul și literatura. ➢ În această perioadă, începe să colaboreze cu revista "Convorbiri literare", unde publică cele mai valoroase creații ale sale. ❖ Importanță literară: ➢ Este considerat unul dintre "cei patru mari clasici ai literaturii române", alături de Ion Creangă, Ioan Slavici și I.L.Caragiale. ➢ Opera sa a influențat profund literatura română, prin lirismul său profund, limbajul expresiv și temele universale.

Oneiric expressions in Maria Grossek-Korycka’s “Sonaty Mol” The article focuses on the literary aspect of dream in Maria Grossek-Korycka's Sonaty mol. The poetics of dream is realized within selected works in the series through the use of the word 'sen' ('dream') or by introducing a romantic encrustation aura. The term 'senne ekspresje' ('dreamy expressions'), appearing in the title of this article, indicates a specific way of shaping the imaginative projections. The characteristic properties of the oneiric visions: the aesthetics of contrast, anthropomorphism, handling a wide range of colours, synesthesia as the main means of expression, deformation in the cause-and-effect relationship lead to a dreamy expressionist technique in the context of the individual sonatas. 'The texts' of verbalised phantasma activate an array of symbolic references and analogies. The poet goes back to the tradition of Kabbalah - a dream often manifests itself t...

The Present paper is an effort to investigate the response of readers (students taught by the contributor of the present article) of a translated work, prescribed in the MA course as a part of curriculum in the form of elective paper (ILT-Indian Literature in Translation). It follows the footprints of I.A. Richadrs, famously known as the father of Practical Criticism. This write up is the outcome of a comprehensive deliberation and discussion in classroom with students, who provided their inputs as how they interpret the translated text and also equated the similar stances across the genres. Therefore, the text, Ali Sardar Jafri's "Morsel" undertaken to analyze, is an attempt to employ Reader Response Approach that serves as a pedagogic tool, most helpful and frequently resorted to in classroom situations. In the process of having dyadic experience, two conclusive aspects surfaced: 1) That readers (the students) did not merely consume the text passively but were actively involved in constructing a meaning out of it. 2) That the part played by the readers (students) in drawing the meaning can by no means be ignored in the literary understanding of the text in this paper.

Wind rattling at the window, fire in the grate, and a poet dozing in his chair are images in William Cowperʼs "A Winterʼs Evening: Brown Study." The presence of an aesthetics of a brown study is an issue I invite my classes to study in their theoretical approach to Romanticism from a Survey of British Literature I class. In the class, we study the two stages of composition theory-I: Eingedenken and II: Composition (linguistic)-in writing that appears in poetical works by William Cowper.

Abstract: Examining Ecclesial Identity: A Critical Review of Whose Community? Which Interpretation? by Merold Westphal

This paper provides a critical review of Merold Westphal's Whose Community? Which Interpretation? by exploring his theological examination of the relationship between the Church and biblical interpretation. Westphal argues for a nuanced understanding of the Church as both a community shaped by the authority of Scripture and as a community tasked with interpreting that authority. This review delves into Westphal’s insights on the complexities of hermeneutics, the role of tradition in interpreting Scripture, and the implications for ecclesial identity. Additionally, the paper considers the relevance of Westphal’s arguments in contemporary debates within Christian communities about how Scripture should be read and applied. The review critically engages with Westphal’s emphasis on the interplay between the interpretive community and the text itself, highlighting how communal practices and theological traditions influence biblical understanding. Moreover, this paper reflects on how Westphal's work offers valuable perspectives for addressing challenges in contemporary evangelical and ecumenical contexts, especially concerning the tension between personal and corporate interpretation. Ultimately, this review emphasizes the significance of community in shaping theological interpretation and offers reflections on the ongoing conversation between faith, tradition, and biblical exegesis.

Examples from Charles Darwin, especially his tacking between different forms of temporality that enabled an integration of human experience and geological immensity, and John Tyndall, with his all-encompassing vision of a mechanical and energetic universe, show the sense in which Victorian scientific naturalism replicated in important respects the Romantic sensibilities of a Humboldt or a Goethe, for whom the natural world represented a self-sufficient unity. There was no ontological gap between Mind and Nature for scientific naturalism any more than there had been for Romantic sensibilities. Reason was what resulted from human nature, and human nature was reason. Nature red in tooth and claw, the terrible sublimity of scientific naturalism, was Romanticism's legitimate offspring.

Uma cidade deve ser considerada tendo em conta as particularidades que certificam a sua singularidade e a conduzem para além do comum. No caso de Aveiro, essa característica provém-lhe inequivocamente do sal, da água e da luz. O desenvolvimento da cidade esteve, desde sempre, ligado às actividades económicas, principalmente às directamente relacionadas com o elemento água, seja no comércio naval, nas actividades piscatórias ou na produção de sal. O documento mais antigo que testemunha o sal como valor de troca é de 959. Porém, é a construção de muralhas em torno da urbe, no século XV, que reflecte a prosperidade alcançada, onde em breve se instalam instituições de assistência, que ajudariam a amenizar os anos vindouros difíceis do fecho da barra. O século XIX, com a sua abertura artificial mediante a utilização da pedra das muralhas, permite a edificação de uma nova cidade e o aparecimento de novos elementos. Cidade sem pedra, mas rica em argila, a profissão de oleiro encontra-se registada como sendo das mais antigas. É nesta vasta experiência que a indústria cerâmica local adquire consciência da generosidade plástica do barro e polvilha as fachadas de azulejo, tornando-a única na sua riqueza caleidoscópica. A aplicação de azulejos no exterior dos edifícios generaliza-se no Brasil para onde se exportavam em grandes quantidades, servindo, inclusive, de lastro aos navios. O azulejo adopta-se como elemento estruturante da arquitectura mas também funciona como reflector de luz e calor, diminuindo a temperatura no interior dos edifícios e como protecção da humidade característica daquela região. Como refere Rafael Salinas Calado, "partiu com a família real e a côrte" (CALADO 1996 7). Regressa mais tarde, apelidado por Santos Simões, como "azulejo de torna viagem" (SIMÕES 2001 300). O primeiro edifício da cidade a ter a fachada revestida na sua íntegra por azulejos (provenientes de uma das fábricas do Porto) surgiu em 1857, propriedade do "brasileiro" Sebastião de Carvalho Lima. 1.INTRODUÇÃO PERCURSO DO AZULEJO DE FACHADA DE AVEIRO: Dinâmicas para a sua salvaguarda 011 Foram fundamentalmente as fábricas do Porto a modificar as características urbanas da época, com a produção local a ter a sua origem, em 1882, com a fundação da fábrica da Fonte Nova, tendo sido a principal produtora de azulejos para o distrito de Aveiro. Para além dos azulejos semi-industriais de padrão e estampilhados, produziu painéis decorativos de vários estilos, cuja execução esteve principalmente a cargo de Francisco Pereira e Licínio Pinto. Pelas tipologias de azulejo que produziu, é inquestionável que esta fábrica tenha criado um estilo próprio, inconfundível, difundindo as siglas FN por dezenas de edifícios da cidade. Acompanhando o gosto da época, no início do século XX surge um conjunto de edifícios de decoração Arte Nova e é também o azulejo que, em Aveiro, distingue as manifestações arquitectónicas deste estilo das demais. A Fonte Nova foi uma das três principais fábricas nacionais na produção de azulejaria característica desta nova manifestação artística. Nesta fase, surgiram na cidade amplas alterações. Foi para isso determinante a política fontista, que beneficiava o desenvolvimento dos eixos de comunicação, tendo-se construído o caminho-de-ferro local em 1864. No artigo do Conselheiro José Ferreira da Cunha e Sousa "A memória sobre Aveiro", é atestado que "[]só depois da passagem da linha-férrea em Aveiro é que os seus melhoramentos se foram desenvolvendo sucessivamente" (NEVES 1940 87). Igualmente relevante para a época é a criação da Escola de Desenho Industrial em 1893. Fundada pelo arquitecto, pintor, professor e director da escola Francisco Silva Rocha, teve uma importância inequívoca na azulejaria das primeiras décadas do século XX. Pela sua vivência e pelos livros que encomenda a Paris, imprime algum cosmopolitismo na produção da cidade (RODRIGUES 2001 49). O Campeão das Províncias, em 1903, revela a recuperação da região e o incremento das obras "[]a actividade no seu auge, fazendo mover os machinismos, os trabalhos manuaes, em todos os diversos ramos da industria nacional e local. O pedreiro, o serralheiro, o carpinteiro, o pintor, o fabricante PERCURSO DO AZULEJO DE FACHADA DE AVEIRO: Dinâmicas para a sua salvaguarda 012 de telha, do adobo, do azulejo, tudo trabalha sem descanso" (NEVES 1997 37). Após uma época de desenvolvimento económico, ao longo da primeira década do século XX, as dificuldades na fábrica da Fonte Nova começaram a surgir. Ao pressentir a iminente falência, João Aleluia, pintor, desde muito jovem, deste centro de produção, funda, em 1905, no Largo dos Santos Mártires, uma pequena unidade cerâmica. O local estava fora da malha urbana, mas próximo de vários canais da ria, o que facilitaria o escoamento da sua produção. Produziu especialmente azulejos de revestimento estampilhados, com apontamentos manuais, criando padrões de motivos decorativos de características gráficas acentuadas, que desenvolveram de forma única as suas capacidades de animação das fachadas. Com a produção dos Santos Mártires a ser cada vez mais procurada, a pequena área que a fábrica ocupava não permitia a sua expansão. Em 1922, numa vasta propriedade na qual é instalada a melhor tecnologia disponível na época, emerge a Fábrica Aleluia, dando continuidade à antiga unidade. Maquinaria mais actual consegue maior produção, propondo uma qualificação artística, atenta aos novos movimentos estéticos internacionais, preocupação que manteve em permanência. Actualmente, para além do fabrico de azulejos em série, podemos observar, em todo o país, painéis executados para grandes artistas como Júlio Pomar e Eduardo Nery. Num esforço constante de adaptação, hoje, é no complexo universitário que se qualifica a intervenção do território, laboratório dos grandes arquitectos contemporâneos, mas onde, apesar da existência de um dinâmico Departamento de Cerâmica e Vidro, a azulejaria como material de revestimento não ocupa lugar. Assumindo-se como uma das cidades mais importantes do país, em constante crescimento económico, Aveiro alia a conservação do património às imposições presentes ao seu desenvolvimento, não relegando um dos principais temas caracterizadores: a qualidade de vida. Estes são os elementos que, em conjugação, nela se sentem e o sentido aqui vivido é imaterial e permutável -como a luz de que se reveste. PERCURSO DO AZULEJO DE FACHADA DE AVEIRO: Dinâmicas para a sua salvaguarda 013 A azulejaria de padrão semi-industrial renova a paisagem urbana ao cobrir as fachadas dos edifícios, a partir da segunda metade do século XIX. O azulejo definiu de forma emblemática o carácter local da arquitectura da região de Aveiro, pelo que deve ser considerado como elemento patrimonial importante a preservar. Apesar do crescente reconhecimento da importância e especificidade deste tipo de revestimento, urgem medidas que impeçam a sua permanente delapidação. O presente estudo está dividido em duas partes. A primeira abarca o contexto histórico da época em que se implantou a azulejaria de fachada em Aveiro, e a sua afirmação na cidade. A segunda é referente ao Plano de Preservação e Salvaguarda do Azulejo de Aveiro, e tem como propósito apontar dinâmicas de salvaguarda, promoção e revitalização do património azulejar de Aveiro. Em 2008 foi apresentada à Faculdade de Letras da Universidade de Coimbra a dissertação: "Aveiro Arte Nova: Estratégia concertada de desenvolvimento museológico e turístico-cultural", pela Dra. Andreia Vale Lourenço. Apesar de não existir uma sobreposição de temáticas, ao propor uma estratégia de salvaguarda, gestão e promoção deste património em Aveiro, ambas as dissertações se complementam ao considerarem a cidade como um "museuvivo" de que urge cuidar.

El papel utilizado para la impresión de este libro es cien por cien libre de cloro y está calificado como papel ecológico. No se permite la reproducción total o parcial de este libro, ni su incorporación a un sistema informático, ni su transmisión en cualquier forma o por cualquier medio, sea éste electrónico, mecánico, por fotocopia, por grabación u otros métodos, sin el permiso previo y por escrito del editor. La infracción de los derechos mencionados puede ser constitutiva de delito contra la propiedad intelectual (Art. 270 y siguientes del Código Penal). Diríjase a CEDRO (Centro Español de Derechos Reprográficos) si necesita fotocopiar o escanear algún fragmento de esta obra. Puede contactar con CEDRO a través de la web www.conlicencia.com o por teléfono en el 91 702 19 70 / 93 272 04 47.

En 1964, Heidegger postuló que la función histórica de la filosofía de proporcionar una explicación unificada del mundo estaba quedando obsoleta. La cibernética la había vencido, como disciplina capaz de dar cuenta tanto de la interacción de una célula con su entorno hasta del comportamiento humano o el funcionamiento de una computadora. La proclama de Heidegger del “fin de la filosofía” venía acompañada de una importante advertencia: este nuevo ethos tecnológico corre el riesgo de adoptar una actitud colonizadora hacia los seres humanos y el mundo natural. Por ese motivo, sugiere Yuk Hui en este libro, es que Heidegger recurre a artistas como Cézanne y Paul Klee, buscando descubrir una relación más ética entre la vida humana y la naturaleza. Este diálogo que cruza arte, filosofía y tecnología constituye el eje central de Arte y cosmotécnica. Recuperando los interrogantes de sus anteriores trabajos, Hui insiste en la posibilidad de superación de la modernidad desde una perspectiva no europea, esta vez tomando la experiencia estética china como camino para imaginar formas de tecnodiversidad.

Se trate de pinturas rupestres o de imágenes hechas con inteligencia artificial, el arte siempre dependió de la técnica como medio para expresarse. Esta imbricación es tal que observar la técnica a partir del arte nos permite reconocer de manera intuitiva su participación en un orden moral y cósmico determinado. A través de un recorrido comparativo entre la tragedia griega y la pintura de paisaje china –la pintura shan shui– Hui diferencia dos grandes modos de pensamiento estético (y filosófico). Mientras que la razón occidental se define por una lógica de discontinuidad trágica plagada de intentos por afirmar lo que Hegel llamó el “derecho superior de la Idea contra la naturaleza”, el arte chino exhibe una lógica de continuidad oposicional que se identifica con la noción taoísta de xuan. Esta dinámica pone la continuidad y la armonía por encima de la discontinuidad y la ruptura: shan y shui, “montaña” y “agua”, representan dos polos contrapuestos que se relacionan sin subordinarse, como el yin y el yang. Esta óptica nos abre a un modo de vinculación no instrumental con el mundo natural que se distancia del implacable proyecto tecnoextractivista moderno.

Józef Jawurek (Josef Javurek) was a Czech pianist, conductor, and organizer of musical life. According to the discovered baptismal record, he was born on October 2,1757, in Benesov. He likely received his education in monastery schools in Bohemia, with his older brother, a Benedictine Frantisek Dominik (Josef), as his first teacher. In the 1780s, Jawurek lived in Vienna, where he supposedly was a friend and student of Wolfgang Amadeus Mozart. During the Great Sejm, he came to Warsaw, where he became associated with the court of the prince Jabłonowski. In Warsaw he married Karolina Peszke or Teszke (1770?-1842). He was friends with the confectioner Georg Albert Lessel (1734-1800), who mentioned Jawurek in letters to his son. At least from 1793 to 1799, the Czech musician resided at the Radziwiłłs' court in Nieborów. Then he went to Vienna, where he facilitated the sale of pianos and joined the Tonkunstler-Societat. From 1806 to 1818, he was associated with Johann Gotthard Frantzius' house in Gdańsk. He spent the rest of his life in Warsaw, where he was the director of music at the Evangelical-Augsburg Church and a piano teacher. He taught at the Main School of Music and the Government Institute for the Education of Young Ladies. He was a member of Warsaw musical societies and a Masonic lodge. Jawurek was involved in charitable initiatives, organized concerts, and conducted musical ensembles. He was friends with Józef Elsner and the family of Fryderyk Chopin. He passed away in 1840. This text presents the latest biographical findings regarding this Czech musician.

Si se trata de entender la naturaleza del realismo político en el fondo no podemos obviar el rol que ha jugado la teología política así como también el voluntarismo en su configuración. La explicación del realismo político descansa entonces en la presencia de la excepcionalidad que es en buena cuenta la manifestación permanente de la indeterminación. Esto se puede apreciar tanto en el mundo político (Schmitt) como en el mundo jurídico (Hart), lo que evidencia la amplitud de este fenómeno. Sin embargo, dada la magnitud de la modernidad y el desarrollo de la técnica es probable que la manifestación de la excepcionalidad se haga más permanente, lo que augura un periodo decisionista muy extenso, fenómeno que se inicia desde la revolución bolchevique y el nacional-socialismo y que continuará seguramente dentro de los actuales contextos de "guerra contra el terrorismo", de "crisis económica global" o de "emergencia ecológica".

Reeditado en: Teorías del Arte desde el siglo XXI, de Ilia Galán, Madrid: Ibersaf, 2005 y Oviedo: Sapere Aude, 2017, pp. 63-76.Hoy tenemos un público masivamente educado, pero mayoritariamente alejado del arte contermporáneo. Las vanguardias han terminado produciendo hastío. En esta situación, empieza a ser necesario buscar expresiones nuevas. Una síntesis entre la tradición anterior a las grandes vanguardias del siglo XX y éstas parece más que posible y desable en el siglo XXI, una vez se halla en derrumbre el mito de la novedad. El cambio tendrá que afectar a la noción misma de arte. El arte no es un conjunto de formas externas, lujo prescindible; puede recuperar su dimensión religiosa, de reasunción del sentido, de reencuentro con el fundamento por medio de la transcendencia

This article argues that certain works by John Clare constitute what I term the lyric of withdrawn revelation, in which the lyric subject attempts to inscribe a nonhuman natural object in its discourse, both for mimetic and expressive purposes, but is prevented from doing so because of the nonhuman's radical dissimilarity to the human. The sonnet "November" and the triple sonnet "The Flood" exemplify this type of lyric by deploying two relational tropes, apostrophe and allegory, respectively, to establish an affinity between human subject and nonhuman object that functions on the subject's own terms. The poems' prosodic, sound, and rhetorical patterning facilitates apostrophe's and allegory's logic of resemblance insofar as regular repetition appeals to the human conceptual appetite for patterns; as a result, the nonhuman object's proneness to regularly patterned discourse suggests the object's likeness to the human lyric subject. Syntactic and figurative irregularity, however, emerges equally as an iterative form in these lyrics to clash with regular repetition and disrupt the logic of affinity that the latter furthers. The tension created points to the nonhuman object's status not as a transcendental signified, but as an extra-discursive context that informs yet remains extrinsic to lyric utterance. Midway through his enclosure elegy, "To a Fallen Elm," John Clare reflects on the "friendship" (28) he shared with the defunct tree: Friend not inanimate-tho stocks and stones There are and many cloathed in flesh and bones Thou ownd a language by which hearts are stirred Deeper than by the attribute of words Thine spoke a feeling known in every tongue. (29-33) 1 This address to the nonhuman and inanimate is nothing more than apostrophe's gesture of making "something which cannot normally be addressed into an addressee, treating it as a subject" (Culler 232). Yet, if apostrophe seeks to lie already beyond disbelief by inverting conventional assumptions about "what can act and what cannot" (242), then Clare's redundantly qualifying address-"Friend not inanimate"-betrays anxiety over the trope's intrinsic logic of affinity between speaker and addressee. The repeated use of the second-person singular (one a subject and the other a possessive pronoun)

Uploaded March 4th, 2025.

This short book offers itself as a third installment in John O’Meara’s series of memoirs, which began with Defending Her Son, 2000 and continued with The Bereaved Writer, 2008/2017.
Here the author brings forward more emphatically than ever the main mystical experience in his life out of which his work as a literary critic emerged: a personal experience of “the death of the beloved” which at some point transforms into an encounter with the Anthroposophia Being. From this encounter, and from the author’s further separation from this Being, who is as if Herself returned to death like another Eurydice, from this and from all his efforts to continue in the line of creative energy that opened up from this, his main critical work emerges spreading over some thirty years.
Reviving all this again, now from the end-point of his literary career, having reached the biographical stage that the great poet Yeats once described in the context of “the Limits of Ambition,” the author has begun to see how the whole pattern of his life and his work has unfolded along the very lines of the biographical model Yeats learned from his own ‘occult’ Masters.
What does this Orphic author’s looming death now forebode, in turn?

On Defending Her Son
“An addictively spell-binding account”—J.D. Gravenor, The Montreal Gazette
On The Bereaved Writer
“A work of eloquence and merit.”—Gary Geddes, author of Sailing Home

JOHN O’MEARA received his PhD from the University of East Anglia in 1986. He taught for many years at the University of Toronto and the University of Ottawa. He is the author of publications on Shakespeare, Romanticism, and Modernity.

Visit the author’s website at
johnomeara.squarespace.com

We consider the possibility to formalize the semantics of text through the
apparatus of modal semantics, esp. using S. Kripke's notions of a model and model
structure. As a demonstration of the abovementioned stands,  we consider Pushkin's
draft note "If I were the Tsar”.  The draft note reflects this biographically motivated
intention, but it can be reconsidered as a short story that explicates Pushkin's poetics on
modality. Its incompleteness and multiplicity of final versions remind a post-modern
technique of writing. One can find the same mechanism, though manifested in different
ways, as it works in Pushkin's literary texts: transforming a character into an author and
an author into a character and reader. The draft note is written on behalf of the Tsar; his
author (Pushkin) turns out to be his character. But in a fictional world where Pushkin
became a Tsar, another Pushkin remained a poet who talked about real episodes of his
biography. These worlds did not differ significantly from each other - in both worlds,
the Tsar punishes the poet for his statements. The fictional  text and the actual world
are represented as mutually permeable semantic areas, and their inter-penetrability
determines a multivalued interpretation.

Nel 2024, il filosofo francese Phillipe Crevoisier invitò Emanuel Dimas de Melo Pimenta a scrivere un'introduzione per il suo nuovo libro DEVENEZ QUI VOUS ÊTES : Une odyssée vers l'accomplissement personnel (Diventa ciò che sei: un'odissea verso la realizzazione personale). La parola “realizzazione” nel titolo è un riferimento al processo ontologico. Il libro è un viaggio attraverso la filosofia e la conoscenza che parte da Pindaro e si tuffa nella storia dell'Occidente attraverso Aristotele, Platone, Pascal, Montaigne, Nietzsche, Jung, Freud e molti altri, comprese le scoperte scientifiche e tecnologiche nel corso dei secoli. Tutta questa gigantesca quantità di informazioni è assemblata in modo tale da servire al lettore come un vero e proprio panorama di se stesso e rappresenta quindi uno strumento di comprensione ontologica ed epistemologica. Il filosofo scrive intenzionalmente in modo diretto e chiaro. Distribuito in tutto il mondo, il libro di Crevoisier, DEVENEZ QUI VOUS ÊTES, è uscito all'inizio del 2025 in francese. Nel suo testo introduttivo, Philippe Crevoisier: Il Cavaliere Errante, Emanuel Pimenta traccia un profilo intellettuale dell'autore, illuminando la natura del libro.

Diese Arbeit untersucht den Einfluss von Friedrich Nietzsches Triebphilosophie auf Thomas Manns Der Zauberberg. Im Zentrum steht die Analyse des Protagonisten Hans Castorp und seiner Entwicklung im Spannungsfeld zwischen dem apollinischen und dionysischen Prinzip. Während Ludovico Settembrini das Apollinische verkörpert – Rationalität, Sprache und Maß –, steht Mynheer Peeperkorn für das Dionysische – Rausch, Ekstase und Selbstvergessenheit. Die Arbeit zeigt, dass Castorp nicht einer der beiden Pole verfällt, sondern sich über den Gegensatz erhebt und so eine Form der Selbstwerdung erfährt. Dies wird anhand von Nietzsches Konzept des „dividuellen“ Menschen beleuchtet, der sich aus widerstreitenden Trieben zusammensetzt. In der Analyse von Castorps Schneetraum wird verdeutlicht, dass er die Widersprüche nicht auflöst, sondern in sich integriert, was ihn in Nietzsches Sinne zum „höheren Menschen“ macht. Damit wird Der Zauberberg als literarische Auseinandersetzung mit der aristokratischen Frage nach der Vornehmheit des Geistes oder des Körpers interpretiert.

U radu se analiziraju tri kolekcije rukopisnog gradiva Odsjeka za etnologiju Hrvatske akademije: Zbirka Matice hrvatske, Stara zbirka i Nova zbirka te se upućuje na malobrojne rukopise iz Srijema i Bačke koje se u njima nalaze. Budući da rukopisi iz tih kolekcija predstavljaju vrijedne izvore za proučavanje narodne/seoske kulture, društva i općenito vremena u kojem rukopisi nastaju, autor u prilozima daje detaljni arhivski pregled rukopisnih zbirki iz Srijema i Bačke kako bi pridonio budućim istraživanjima povijesti i kulture tih regija.

Einleitung ›Alterität‹ und ›Fremdheit‹ zählen fraglos zu den Grundbegriffen der interkulturellen Literaturwissenschaft. Die Koevolution des Begriffspaars fällt in die Gründungsphase des Forschungsfeldes Mitte der 1970er Jahre und markiert theoriegeschichtlich einen Kreuzungspunkt der engagiert geführten Debatten zwischen Hermeneutik auf der einen und Poststrukturalismus und Dekonstruktion auf der anderen Seite. Beide teilen die Überzeugung, dass sich Identität nicht aus und durch sich selbst, sondern nur über ›ein Anderes‹/›den Anderen‹ konstituiert, das bzw. der jedoch nicht als unmittelbar fremd erfahren werden muss (vgl. Hofmann/Patrut 2015: 12). Aus fachgeschichtlicher und wissenschaftspolitischer Sicht zielten beiden Begriffe dagegen primär auf eine institutionelle Öffnung und methodische Erneuerung der Fächer Deutsche Philologie sowie Deutsch als Fremdsprache. Wie sich der Einleitung zum Band Hermeneutik der Fremde entnehmen lässt, in der die beiden Herausgeber Dieter Krusche und Alois Wierlacher die Genese ihres Gegenstands(bereichs) rückblickend reflektieren, bildete ›Fremdheit‹ jenen Zugangsterm, der eine literaturwissenschaftliche Beschäftigung mit deutschsprachiger Literatur bzw. Literaturgeschichte in den Fragehorizont einer ›angewandten Philologie des Deut-schen‹ rückt, die wenige Jahre zuvor noch-gleichermaßen hierarchisierend wie diskursiv exkludierend-als ›Deutsche Abteilung für Ausländer' geführt worden war (Krusche/Wierlacher 1990: 7-10). Bildete die konzeptuelle Nähe zwischen kultureller und literarisch-rezeptiver Alteritätserfahrung in diesen ersten Jahren kaum mehr als eine hypothe

Bien qu'il ait été peu étudié, le Laocoön de William Blake constitue une œuvre fondamentale en ce qu'il laisse entrevoir, de façon condensée mais exemplaire, un art poétique qui sous-tend l'ensemble de la production de l'artiste. À l'analyse des relations étroites qu'entretiennent ...

Con la prima sistemazione della filosofia dell'arte inizia la maturità filosofica del pensiero crociano e, potremmo dire, si compie la svolta decisiva per la filosofia italiana verso un pensiero critico che, pur ricollegandosi alle grandi filosofie classiche, si inoltrerà sul terreno della piena modernità. L'Estetica come scienza dell'espressione e linguistica generale, nota poi col titolo di Estetica o di grande estetica, è l'opera che guadagnerà a Croce fama internazionale e che, ancor oggi a più di un secolo dalla sua edizione, è forse il più popolare dei suoi libri, almeno fuori dall'Italia. La filosofia dell'arte del filosofo italiano rappresentò, per tanti aspetti, uno degli esempi più vivi ed evidenti della rottura che, in quel tempo, andava compiendosi in tutta Europa fra mentalità positivistica e rinnovata affermazione della filosofia critica, nell'arte, nella storiografia, nella mentalità appunto, tipica del Novecento. Ma, a pensarci ancora meglio, l'estetica crociana si contrapponeva, oggettivamente, ad antiche e radicate concezioni, che non è possibile identificare in una sola ideologia. L'idea che l'arte fosse un'autonoma forma della conoscenza, fondata sull'intuizione la quale, se non è puramente razionale non è nemmeno mistica, ed è comunque indipendente (kantianamente disinteressata) da tutte le altre funzioni della storia pur essendo nella storia ovviamente radicata, metteva decisamente in discussione in un solo momento gran parte delle consuetudini tradizionali tipiche del tessuto culturale e delle istituzioni letterarie del nostro paese. Metteva in discussione, infatti, la concezione cattolica della derivazione morale dell'arte; la concezione intellettualistica secondo la quale l'arte è un rivestimento del vero; la concezione scientista secondo la quale l'arte è subordinata a criteri empirici o sperimentali; la tradizione marxista secondo la quale l'arte è il "portato" sovrastrutturale di strutture economiche e politiche; la concezione, di derivazione romantica per cui l'arte è puro sentimento, è indicibile e ineffabile espressione del genio, di sensibilità particolari ed eccezionali; le teorie tipiche dei letterati e di molti critici e professori, per cui l'arte si riduceva a pura filologia, ad asettica analisi del testo. L'Estetica, dunque, si può ritenere una pietra miliare della storia della filosofia del Novecento e della storia dell'estetica in generale. Essa contiene in germe l'intero pensiero crociano e riassume i termini del serrato confronto con le correnti filosofiche del tempo. Di entrambe le questioni dà conto lo stesso Croce, sempre incline a storicizzarsi, nella Prefazione alla quinta edizione del 15 settembre 1921. Scrive infatti:

Pt: Ainda que recorrentes, as referências a magia na obra camiliana são notadas como pouco influentes nos enredos gerais das suas obras. Todavia, tais referências nunca foram ignoradas pela comunidade camiliana. A listagem (incompleta) destas mesmas referências realizada por Alberto Vieira Braga nos anos 20 do século passado é um resultado direto disso. No entanto, estudos como os de Vieira Braga, dada a ausência de uma metodologia que permita a distinção entre as múltiplas referências a magia na obra de Camilo, resultam em estas não serem compreendidas para além de meras curiosidades.
Recorrendo à listagem composta por Vieira Braga, o presente artigo pretende distribuir as práticas mágicas referidas na obra camiliana pelos vários ambientes geográficos e socioeconómicos de onde se originam. Desta forma, torna-se possível identificar padrões que sugerem não só as fontes de Camilo, mas também alguns dos métodos de “economia narrativa” que este utiliza para a criação de enredos imersos em práticas mágicas e supersticiosas.

En: Although references to magic are common in the works of Camilo, they have little influence on the general plots of his works. However, Camilo scholars have never ignored such references. The (incomplete) listing of these references composed by Alberto Vieira Braga in the 20s of the last century was a direct result of this. Nevertheless, studies such as Vieira Braga’s, lacking a methodology that distinguishes between the multiple references to magic in Camilo’s work, reduce these to mere curiosities.
This article refers to Vieira Braga’s list to distribute the magic practices mentioned in Camilo’s works across the various geographic and socioeconomic environments were these originate. By doing so, it becomes possible to identify patterns that not only suggest the sources used by Camilo but also some of the methods of “narrative economics” used to create plots which are immersed in magical and superstitious practices.

In Pictures of Music Education, Estelle Jorgensen extends her analysis of the pilgrimage metaphor and its associated model of quest in music education. The purpose of the present chapter is not to refute or critique Jorgensen's work with this metaphor but to build on it by exploring even further the possible meanings captured by the metaphor for music educators. While the notion of pilgrimage carries religious overtones from its long association with faith practices, in a secularized world our present understandings continue to be shaped by remnants of meaning from past mythologies. To that end, various notions associated with pilgrimage are explored in the current context: quest (what is a pilgrimage?), hero (what is a pilgrim?), initiation and graduation (how does one get started on a pilgrimage?), journey (what is a pilgrimage like?), discipline (what does it take to be a pilgrim?), and paradise (where is the pilgrim headed and why?). The analysis suggests that the pilgrimage metaphor applied to music education evokes a progressive view of teaching and learning. The metaphor and its glosses may serve as a counterinfluence to standardized curricula, assessment procedures, and external expectations, for instance, that impact how music education is conducted today. In Pictures of Music Education, 1 Estelle Jorgensen unpacks a dozen key and interesting tropes that have served as grounding metaphors and models of music education. She shows how these metaphors have shaped understandings of music, teaching, learning, instruction, curriculum, and administrative practices. After showing its power and influence, she offers a critique of each metaphor in turn to illustrate its limitations and to underscore the need for multiple metaphors. In the multitude of metaphors, she implies, one will find others that answer the critiques, fill

During the Shelley-Byron circle’s intertextual summer of 1816in Geneva, Lord Byron’s physician, John William Polidori, kept a journal in which he described the group’s activities. Polidori’s autobiograph-ical  narrative  as  well  as  Claire  Clairmont,  Byron  and  Percy  Shelley  all  mention  a  close  friend  of  the  doctor’s  in  Geneva,  a  Portuguese  lady  who  has  remained  a  mysterious  presence  until  now.  Based  on  research  using  Portuguese  and  Swiss  sources,  this  article  establishes  that the Portuguese lady was Henriette Brélaz (née Lassence), the wife of Pierre Nicolas Brélaz, a Swiss trader born in Lisbon who lived in Genthod across the lake from Villa Diodati

Sometimes we hear music (when we play it or hear it, whether live or recorded) and experience is felt as a singular event. In those moments we find ourselves in an existential situation that, because it is singular (rare, unique, unintended), reveals the formative power of an aesthetic experience of listening to music, what we might call learning how to be poetic.Here, Eduardo Duarte Bono explores how engaging with Jean-Luc Nancy can enable us to deepen our appreciation for music’s aesthetic education. Specifically, Nancy’s category of” resonant subjectivity” describes the existential place where this education is occurring during those singular experiences with music, what Nancy describes as ”‘to be all ears’ [être à l’écoute], to be listening.” As a way of amplifying Nancy’s writing on listening to music, Duarte Bono takes up three distinct cases in this paper: the percussionist Evelyn Glennie, Pablo Picasso’s sculpture Guitar, and Ralph Ellison’s musings on living with music as a writer.

Español:
El presente texto busca analizar el problema de la (no)definición de lo romántico en los primeros diarios de Kierkegaard. Así las cosas, el texto está dividido en dos partes. En la primera se desarrollan unas reflexiones generales sobre la naturaleza literario-filosófica de los diarios, con particular atención a la unidad del texto, para explicitar nuestra manera de acercarnos a ellos. En segundo lugar, nos enfocamos en el análisis crítico de las anotaciones que conciernen los intentos fallidos de Kierkegaard para definir lo romántico, para revisar las posturas que expresó al respecto y, sucesivamente, extrer las debidas conclusiones.

English:
The present text seeks to analyze the problem of the (non)definition of the romantic in Kierkegaard's early Journals. Thus, the text is divided into two parts. In the first, I develop some general reflections on the literary-philosophical nature of the Journals, with particular attention to the unity of the text, in order to make explicit my approach to them. Secondly, I focus on the critical analysis of the annotations concerning Kierkegaard's failed attempts to define the romantic, in order to review the positions, he expressed in this regard and, subsequently, to draw the appropriate conclusions.

The relationship between psychology and the study of literature seems paradoxical. On the one hand, these fields do not have much in common, neither in terms of the subject of research, nor in terms of methodological or theoretical aspects. They have separate discourses, deeply rooted in the traditions of their own disciplines and obtaining their scientific validation there. On the other hand, it is difficult not to notice common research interests, especially in the field of creativity, biographical research or literary texts themselves, which are taken up by both literary scholars and psychologists, although they do it less often. The search for a universal language of the humanities in the 20th century ended in failure and the final separation of sciences, and then – further specialisation, which today makes communication and cooperation between disciplines difficult. At the core of this monograph is the idea to build bridges to facilitate understanding and implementation of specific research projects. Therefore, it is not about understanding in general, but about seeking cooperation and coexistence around specific problems that are worth analysing together, and not separately. This is the basic message of the book: bridges are better than barriers because they allow us to jump over the walls that separate particular fields from each other and look for understanding, the foundations of which are relationships based on mutual respect, empathy and partnership cooperation. The whole book consists of sixteen chapters, quite diverse, although connected by common threads, gathered around four overarching ideas, important in terms of interdisciplinarity, which are: relationships, biography, creator and literature. In these areas, it was possible to build a space for coexistence and cooperation between literary studies and psychology in theory and in the process of interpretation (the fourth chapter of each part is devoted to practical testing of the possibilities of such cooperation in relation to a specific research challenge). The first part of the monograph, entitled Relationships, analyses the reasons why there is a gap between psychology and the study of literature: theoretical, substantive, method-ological and linguistic. Without this, it would be difficult to further diagnose the current difficulties with interdisciplinary relations between these two fields. Literary sciences are mainly inspired by psychoanalytic trends, which do not represent all psychological re-search conducted today, which is why a much-needed change is the discovery of other schools and directions of development of psychology. The second and third chapters are of a special nature: they are the only ones addressed to specialists in each field separately. other dilemmas accompany researchers who enter the field of literature with their specific tools (as psychologists do), and literary scholars have to face other problems when they look for answers to important questions about the nature of man, the causes of his behaviour or permanent or changeable personality traits (enriching their interpretations with a psychological aspect). The next three parts of the book contain analyses of specific research problems related tothe area of biographical research (narrator and narration, representation, personalistic model in biography); research on creativity (the perspective of the psychology of creativity, the issue of breakthrough, analysis of the creative process on the example of Pan Tadeusz by A. Mickiewicz and Modlitwa by C. Norwid) and comparative literary research (issues of the course of life, memory, incommensurability); the book ends with a chapter devoted to the relationship between biography and fiction. Instead of a traditional ending, which might suggest that there is some point of reaching these considerations (a postulated way of combining psychology with literary studies or a set of principlesguaranteeing the validity of the analyses), each chapter ends with specific conclusions. The lack of a summary expresses the overarching idea of this book, the aim of which is not to formulate postulates, but to build the foundations of real relationships (including assumptions enabling the establishment of principles of cooperation in interdisciplinary teams), which means openness to the creation of various solutions, and not a ready-made, homogeneous proposal that could be presented as valid. In this ap-proach, “bridges instead of barriers” express the readiness to test the limits of interdisci-plinarity, formulate questions rather than answers, and experiment without the certainty that all ideas for constructing such common fields of interpretation will prove successful. The foundation of this attitude is, on the one hand, existential psychology (the works of Viktor E. Frankl and Irvin D. Yalom), and on the other – the ideas of cultural theory of literature. Respecting the literary traditions of psychoanalytic research, i deliberately leave them aside, writing about them only in the historical context of cooperation between psychology and literature. Given the undying attractiveness of this approach for literary scholars, i am convinced that it is worth not only to follow the trails blazed in research, but above all, proposing new ones. this book is devoted to these very new trails.

For Poles living in exile during the nineteenth century, letters became not just a means of communicating with their loved ones back in Poland and scattered around the world; they also formed genuine ‘networks of correspondence’ or - as Fryderyk Chopin himself put it in one of his letters from 1845 - espaces imaginaires, imaginary spaces, created for the purposes of specific epistolary communities. The question of the existence of shared imaginary spaces (part of what Wanda Zagórska termed a ‘culturally created reality’), created by means of letters and out of a need to maintain lively relations with correspondents, is worth analysing on the basis of the Polish composer’s correspondence. His letters inform the reconstruction both of those epistolary imagined communities and also of the spaces formed for those communities; thus they concern both the question of epistolographic communication and also geopoetics, which covers both ‘autobiographical places’ and ‘imaginary places’.

The present research aims to focus a research field still not adequately
investigated, the Sicilian Philhellenism, examining firstly two paintings
inspired by the Greek insurrection: La morte di Marco Botzaris (1837-1840) and L’arrembaggio di Babolina (1930s) by Letterio Subba
(1787-1868), a painter from Messina. The figures of leaders in the two
works represent an exemplum of war courage; Botzaris, of extreme
sacrifice and Bubulina, of rationality/coldness. The probable source is
a novel by C. Paganel, Le Tombeau de Marcos Botzaris (1826) translated
in 1837 by Francesco Soraci, an author from Messina. Secondly it will
be considered a marble group by Benedetto Civiletti (1846/1899), I
Fratelli Canaris, representing the enterprise of K. Canaris and his
companion which was exhibited in Vienna (1873) and Paris (1875)
obtaining European resonance. The dramatic realism of the image
will be compared to a sonnet, of classical tone and style, by Francesco
Paolo Perez (1812-1892), Sul gruppo dei Canaris a Scio dello scultore
Civiletti. Finally, two theatrical performances, represented at Teatro
Comunale in Catania and at Teatro Vittorio Emanuele in Messina will
be analysed: La fidanzata di Marco Bozzari (1863) by Rosario Cavallaro
and musics of Martino Frontini, and Le ultime parole di Marco Bozzari
alla sua sposa (1868) by Antonio Somma. The fascination for the exotic
and the effect of estrangement that derives from it enhance the desire
to understand and investigate differences and similarities between
Sicilian/Italians, Greeks, and their enemies, to establish a contact that
would not only be interwoven with emotionality but with authentic
and participatory knowledge.

The document is an excerpt from a proposed thesis that examines the overlooked 'Atlantic Facade' Culture and its portrayal in the "Ossian" poems. • Thesis Overview: The author seeks to comprehend the cultural niche of the 'Atlantic Facade' Culture through various perspectives and psychological analysis.

This study examines fourteen excommunications issued by Parthenios Makris, Bishop of Cephalonia, during the 19th century. Through the analysis of ecclesiastical records, cases of crimes such as theft, murder, and sacrilege are revealed, as well as the use of excommunication as a disciplinary and social control tool. Parthenios Makris, following the tradition of his time, imposed spiritual penalties on criminals and offenders in an effort to maintain order and reinforce respect for the Church and the law. The research highlights the relationship between ecclesiastical authority and social discipline, shedding light on the significance of excommunication in managing public morality during this period.

são algumas das figuras do Modernismo existente no Ceará gui achar muita coisa no O POVO, no Ceará, no Jandaia. Quando articula-se produção literária e produção na imprensa, vê que, aqui, o Modernismo foi frutífero, polêmico. Para dar um exemplo, se percorrer as páginas do O POVO, desde 1928, quase todo dia tinha alguma coisa modernista. Percebi que esse movimento vai até 1931, mais ou menos, depois tem um arrefecimento.

Στο κεφάλαιο εξετάζεται η συμβολή του σπουδαίου μελετητή της βυζαντινής και μεταβυζαντινής φιλοσοφίας Λίνου Μπενάκη (1928-2022) στην μελέτη της πνευματικής ιστορίας της Κέρκυρας, με έμφαση στον 19ο αιώνα και επικέντρωση στην εποχή λειτουργίας της Ιονίου Ακαδημίας (1824-1864).

This book addresses three individual, separately specialist dissertations written by the Russian linguist and comparative Slavist Alexander Vasilyevich Issatchenko during his stay in Ljubljana immediately before the Second World War, i.e. between 1938 and 1940.