This article discusses the influence that Schopenhauer’s thought had on Mihai Eminescu’s work with reference to the idea of “pessimism.” It also considers Schopenhauer’s influence on Romanian philosophy and literature at the end of the nineteenth century. We shall examine Eminescu’s alleged “Schopenhauerian pessimism,” considering firstly “pessimism” as a part of Eminescu’s “myth.” Secondly, we shall cover the critical reception of Eminescu’s “Schopenhauerian pessimism,” discussing the existing literary and philosophical scholarship. Finding that there are issues for debate regarding Schopenhauer’s alleged (...) influence upon Eminescu, we argue that Eminescu’s “Schopenhauerian pessimism” may be a “legend.” The article examines the connection between Eminescu and one of Schopenhauer’s most influential followers, Eduard von Hartmann. (shrink)

Approaching this kind of subject implies an exigency of understanding that aims at the conditions of possibility of the status of the modern person. Starting with the Euro- pean Illuminist Age, this is represented by the acknowl- edgment of the other as a person, based on a certain rational conditioning of the community. One should not confine religion to a “black-hole”, by separating it from the political, but should rather try to see the middle-way between the radical solution of atheism, (...) on the one hand, and the legitimating of a political religion, on the other. The second part of this essay is an analysis of the double modern conditioning of art (understood as the expression of the creative faculty): first, of the political aspect of the Modern Age; secondly, of the religious problems connected to politics. Seen as a whole, this area of artistic production implies two types of funda- mental relationships: 1) an analysis of art as the expres- sion of the self and of its status in the world; 2) a direct connection between art and the social and political as- pects of the contemporary age. (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The purpose of this study is to analyze the tenets that relate to Dada’s self-understanding of art. The phenomenon Dada is notoriously difficult to describe; some critics hesitate even to use the term “movement.” Focusing on Dadaists’ reflections about the phenomenon itself, we will try to delineate a general image (...) of the Dada in the context of the European avant-gardes of the 20-th century. We will also try to analyze the historical and political context inside which the dada phenomenon occurred. Our main focus will be on two main tenets of Dadaism: the “self-critical” feature of Dada’s self-image as it emerges during the main phases of its history, especially during its early phase, and the political commitment of Dada during its last phases of development. (shrink)

This paper debates the new theories of philosophical and aesthetical discourse by applying them to Nietzsche’s thinking on art. The article consists of four general subjects, each of them focusing on an essential part of Nietzsche’s special relationship to art: 1) Art generated by the philosophical text itself, through the form of the fragment; 2) The artistic relationship as an interdisciplinary ground for philosophical knowledge of the world (especially as applied in Nietzsche’s and Schopenhauer’s work); 3) A critical debate on (...) Wolfgang Welsch’s theory about the interdisciplinary aspects of the philosophical and aesthetic discourse; 4) The backgrounds of Nietzsche’s aesthetics project explained in Claus Zittel’s theory on Nietzsche’s “aesthetic turn.” Thus, Nietzsche’s thinking is defined as a relationist project, emphasizing the “self-destruction dy- namic” of his aesthetical perspectivism. (shrink)

Moshe Idel, Ben: Sonship and Jewish Mysticism (The Kogod Library of Judaic Studies 5), London/New York: Continuum, 2007, 725 pgs.

This paper issues a highly controversial point: is there possible that a concept of ‘revolution’ can legitimize the historical revolutionary action and, if yes, how could this be possible? This debate on revolution is a subsequent part of a larger puzzle: the hermeneutics of the historical fact. Roughly explained, the concept of ‘revolution’ is the major piece of a ’revolutionary rhetoric,’ which generates the interpretation of the historical fact. Samples are offered by means of the concept of ‘revolution’ issued by (...) modern historiography. The case focuses on three main parts: a brief debate on the concept of ‘revolution’ viewed by the apologists of the French Revolution and their adversaries; a critique of Marx’s and Lenin’s ideology of revolution; finally, an illustration of a rhetorical dismantle of ‘revolution’ at hand in Kenneth Burke’s comments on Marxist ‘revolution.’. (shrink)

The issue, which is at stake here, consists in analysing the modern view of ethics in the context of the social and cultural transformation of the status of the individual. The role of ethics in the history of the modern mind is strictly related to the struggle between liberal individualism and the ge- neric idea of “man,” presented as a social actor in a large political and ideological arena. As a matter of fact, beginning with Illuminism, the radical as- sumption (...) concerning the “human rights” has sev- ered two different directions of thought: 1) The theory of human rights, which are immediately and unconditionally related to the preservation of both negative and positive rights of the individual; 2) the Hegelian and Post-Hegelian view (especially Marxism) – the social and political liberty of the indi- vidual is protected only by the direct intervention of the State. Thus, introducing the traditional concept of “virtue” – following Alasdair MacIntyre’s theory on traditional virtues – into the arena of the modern ethics debate is seen at first as an adven- turous task, but finally, as a possible solution – the neo-Aristotelian view of virtues could be considered as a positive response to the more increasing crisis of traditional values in our society. (shrink)