This article demonstrates how a new reading of Rilke’s poetry can provide a basis for comparing and contrasting the aesthetic approach to art and the language-based approach that foregrounds the role of metaphor and materiality in literary production. Lessing’s Laocoön is discussed in terms of an implied dialogue between painting and poetry, which, however, acquires a different valence when the Fifth of Rilke’s Duino Elegies suggests that poetry itself functions as a ‘metaphorical hypoicon’ allowing for shared meanings. My (...) concluding remarks emphasize the importance of the performing self to a complete understanding of Rilke’s semiotic potential. (shrink)

This dissertation re-examines the principal philosophical thrusts of the German Enlightenment period, from the perspective of their totalizing-mythological function, and investigates how this function is criticized by the non-totalizing function of myth found within the primary mythical images in the work of Goethe, Nietzsche, Rilke, and Walter Benjamin. ;Utilizing the revolutionary book by Hans Blumenberg on the function of myth in German Idealism and Romanticism, I instigate a discourse between Blumenberg's totalizing work on myth and the negative-dialectical work on (...) myth as proposed by Theodor Adorno. I locate the German origins of this negative-dialectical myth-making in the work of Goethe, specifically his non-totalizing image, Wilhelm Meister. I locate the development of this use of myth in Nietzsche's Zarathustra, and, finally, trace a similar function at work in Rilke's Malte and Walter Benjamin's historical materialist. ;Contrary to Habermas, who argues that Nietzsche opened up two roads to postmodernity, one leading to the "ontologization of aesthetics" and the other to the "totalizing critique" of reason , I put forth the argument that the Nietzschean "two roads" metaphor is useful but needs to be re-shaped, configuring one road toward the mythological history and historical mythology of Rilke and Walter Benjamin, and another road the Theodor Adorno's "thorough critique" of reason. ;The need to revise Habermas's "two roads to post-modernity" theory mythographically, rests on the primary investigation of this dissertation: to trace by de-scription the practical incarnation of the word on German soil . I define this process of "practical incarnation" as that word which subversively desires to de-scribe and trans-figure the neurotic -psychotic structure that has defined the parameters of Western discourse, at least since neo-Platonic Christianity influenced cultural codifications of the West. Finally, I maintain that the primary image of criticism which emerges from the dialectical work of the writers herein, is the image of man-child, a classless, non-totalizing image implicit in Goethe's Wilhelm Meister, and developed in the Kind-Mensch constellation in the work of Nietzsche, Rilke, and Walter Benjamin. (shrink)

Mit dem Werk des österreichischen Dichters kam Witold Hulewicz ziemlich früh in Berührung. Fasziniert von dessen Dichtkunst, nahm er mit Rilke Briefkontakte auf. Die Korrespondenz belebte sich wesentlich, als Hulewicz an den ersten Üb ertragungen ins Polnische arbeitete. Im vorliegenden Artikel bemüht sich die Autorin nicht nur die freundschaftlichen Kontakte darzustellen, sondern auf die Rolle Hulewiczs als Übersetzer und Verbreiter des Rilkschen Werkes in Polen hinzu weisen.

Artykuł dotyczy dwóch bardzo mało znanych utworów słynnych twórców literatury niemieckiej. Johann Wolfgang von Goethe, twórca Fausta, ma w swym dorobku moralizatorski wiersz pt. Dziennik. Jednak z obawy o posądzenie go o niemoralne treści, nigdy za życia poety utwór ten nie został opublikowany. Również Siedem wierszy Rainera Marii Rilkego jest bardzo rzadko drukowanych. Mimo, iż Rilke długo wzbraniał się przed lekturą utworów niemieckiego wieszcza, to jednak Dziennik stanowił wyjątek. Wiersz Goethego poświęcony jest kryzysowi seksualnemu i twórczemu bohatera, za którym (...) kryje się sam poeta. Wiersze Rilkego stanowią cykl poświęcony aktowi miłosnemu dwojga kochanków. Artykuł stara się przeanalizować wzajemne związki obu tych tak różnych dzieł i odpowiedzieć na pytanie, czy R. M. Rilke wzorował się na twórczości J. W. Goethego. (shrink)

The present article utilizes the Nietzschean “poetics” distilled from Nietzsche’s Gay Science as an interpretive strategy for considering Deleuze’s essay “Literature and Life” in Essays Critical and Clinical. The first section considers Deleuze’s overarching project in that essay, and then repositions his thought from literature in general to “poetry” in particular, indicating both resonances between Deleuze’s understanding of “literature” and Nietzsche’s understanding of “poetry” as well as their dissonances. The second section focuses on the places in Deleuze’s analyses where he (...) excludes poetry, and suggests that this exclusion is related to Nietzsche’s claim that lyric poetry is the birthplace of philosophy. Put differently, the being of lyric poetry threatens to disrupt Deleuze’s distinction between the respective roles and powers of philosophy and art, and thereby to disclose poets as, at least potentially, philosophers, and vice versa. And the final section offers one of Rainer Maria Rilke’s Sonnets to Orpheus as an exemplar of poetry’s philosophical potential, before concluding that a Nietzschean conception of poetry constitutes the “dark precursor” of “Literature in Life,” Essays Critical and Clinical, and Deleuze’s work in general. (shrink)

Martin Heidegger’s critique of modernity, and his vision of what may come after it, constitutes a sustained argument across the arc of his career. Does Hans-Georg Gadamer follow Heidegger’s path of making possible “another beginning” after the modern age? In this article, I show that, in contrast to Heidegger, Gadamer cultivates modernity’s hidden resources. We can gain insight into Gadamer’s difference from Heidegger on this fundamental point with reference to his ambivalence toward and departure from two of Heidegger’s touchstones for (...) postmodernity, namely, Friedrich Nietzsche and Friedrich Hölderlin. We can appreciate and motivate Gadamer’s proposal to rehabilitate modernity by juxtaposing his rootedness in Wilhelm Dilthey and Rainer Maria Rilke with Heidegger’s corresponding interest in Nietzsche and Hölderlin. This difference in influences and conceptual starting points demonstrates Heidegger and Gadamer’s competing approaches to the modern age, a contrast that I concretize through a close reading of Gadamer’s choice of a poem by Rilke as the epigraph to Truth and Method. (shrink)

Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la afinación, así (...) como una tensión que invita a un debate ulterior tanto sobre la detención del amante en Carson como el demorarse en Heidegger. Al revisar la hermenéutica gadameriana de la programación y la interpretación musical, incluida la improvisación y el desafío de la nueva música, las reflexiones de Gadamer sobre la cultura musical en el contexto de la cultura social y su reflexión no solo pueden ser leídas a través de Platón y Goethe, sino también a partir de las concepciones de "lo bello" en Hölderlin y Rilke. Se trata de una "conversación" cultural en la que la contribución del público puede estar en tensión con la programación musical progresiva, además de la dinámica de respuesta que surge en la energeia de la improvisación tanto para el intérprete como para el oyente.// Abstract: Gadamer’s On the Relevance of the Beautiful makes telling reference to musi-cal improvisation and the importance of musical listening in addition to fore-grounding the need for justification. Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Carson on the lover’s arrest and Heidegger on tarrying. By reviewing Gadamer’s hermeneutic of musical pro-gramming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and his reflection not only via Plato and Goethe but Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ where audience input can be in tension with progressive musical programing along with the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)

La citazione di Rilke pare ben delineare gli ambiti “abissali” del rapporto di noi tutti con “Dio”, di “Dio” con l'abisso di se stesso, come Jung (ma non solo) ritiene, e in definitiva di noi stessi con noi stessi (Jung: ”L'uomo moderno deve perciò trovare altrove, nel suo profondo, le sorgenti della propria vita spirituale, e per trovarle deve individualmente lottare contro il male, confrontarsi con l'Ombra, integrare il demonio”). Il libro di Giobbe appare configurarsi come lo sforzo ultimo (...) di Jung di legare vertiginosamente ma molto plausibilmente appunto, riflessioni complesse sulla natura del male, sul rapporto (sempre al limite del comprensibile e del dicibile) tra monismo e dualità, che “dall'Alto dei Cieli” tombe nell'inconscio, su eventi simbolici come la assumptio Mariae, sui simboli dell'imago dei.. Lo scopo del presente lavoro è il breve e non completo affresco della possibile correlazione tra il Libro di Giobbe e alcuni antecedenti mesopotamici, nel senso di riflettere su alcuni possibili differenti simbolismi sottesi a questa correlazione, che sembrano avvallare la lettura junghiana, ma anche di mostrare una plausibile convergenza dell'interpretazione junghiana del testo con altre formulazioni teoriche. (shrink)

There are numerous books which seek to interpret Martin Heidegger’s seminal text, Beiträge zur Philosophie (Vom Ereignis), and others which address the question of how to translate his writings. By joining these two tasks, Translation and Interpretation: Learning from Beiträge, stands out from other such books in the field of Heidegger studies. The volume begins with Parvis Emad’s translation of an original essay by Martin Heidegger, “Contributions of Philosophy. The Da-sein and the Be-ing (Enowning).” -/- Through six carefully crafted essays, (...) Emad then takes the reader through a journey which examines the relationship between Heidegger’s being-historical thinking and such key figures—including Friedrich Nietzsche, Rainer Maria Rilke, and Friedrich Hölderlin—who either occupy the forefront at the end of metaphysics or mark the “crossing” to the “other beginning.” -/- This book will be of special interest to scholars and graduate students alike, whether in philosophy or such diverse fields as poetry and linguistics. (shrink)

In this chapter, we analyze intellectual patience as a character trait. We look at the contexts that call for patience and at what patience demands in those contexts. Together these constitute our account of patience, though the focus is on patience in the life of the mind. We also consider how patience and perseverance differ, which offers a better understanding of the former and sheds light on how character traits can cooperate. We then consider how to become virtuously patient. We (...) conclude reflecting on some remarks made by the poet Rilke. (shrink)

Heideggers Der Ursprung des Kunstwerks ist einer der wichtigsten Beiträge zur philosophischen Ästhetik, zudem ein Schlüsseltext für Heideggers gesamtes Denken. Aber nicht ganz zu Unrecht gilt die Lektüre bei Studierenden und Anfängern im Denken Heideggers als schwierig. Dieser Band soll das Verständnis des Kunstwerkaufsatzes anleiten und erleichtern: In 18 Beiträgen stellen die Autoren in ihren Interpretationen die Grundgedanken und philosophischen sowie literarischen Quellen des Textes vor, verorten ihn in Heideggers Werk und und skizzieren seine philosophische Wirkung. Dieser erste kooperative Kommentar (...) zum Kunstwerkaufsatz schließt an das Vorwissen und die Interessen seiner Leser in vielerlei Hinsichten an, ermöglicht so einen leichteren Einstieg in die Lektüre und erschließt den Text aus verschiedenen Perspektiven der Philosophie und der Kunstwissenschaft. -/- Einen ersten Schwerpunkt bilden dabei thematische Einführungen, die das Verhältnis von Kunstwerken zu anderen Dingen, zur Technik, zur Natur, zu Wahrheit und Geschichte bestimmen. So erläutern die Beiträge Heideggers Bestimmung der Gestalt von Kunstwerken und seine These vom Vorrang der Dichtung. Ein zweiter Teil geht den Quellen des Kunstwerkaufsatzes in der Philosophie (Aristoteles, Heraklit, Hegel) und in der Literatur (Hölderlin, Meyer, Rilke) nach. Ein dritter Teil erläutert, wie Der Ursprung des Kunstwerks Heideggers eigenes Denken beeinflusst: seine Auseinandersetzung mit Nietzsche, seine Faszination für Paul Klee, sein nachdenken über Phänomenologie und über Sprache. Ein vierter Teil schließlich ist der Wirkung von Heideggers Text auf andere Autoren gewidmet: Adorno, die französische Phänomenologie (Lévinas, Derrida u.a.) sowie Gadamer und andere Autoren der hermeneutischen Tradition (Sallis, Figal). (shrink)

This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke (...) complements a similarly brief reference to Jankelevitch’s “ineffable.”. (shrink)

This paper is an attempt at developing a poetic ontology of the senses through an understanding of poetry, or more importantly the poetic as such, i.e., the movement, temporality, and various antinomies within poetic gesturing which interrupt the logic of closed meaning and totalization. Through a range of philosophers such as Nietzsche, Heidegger, Derrida, and Jean-Luc Nancy, amongst others, and primarily the poetry of Pessoa and Rilke, the paper investigates how poetry (poetics) may not only show us a path (...) toward a poetic ontology (thus an ontology in correlation with the senses and movements of natural and material existence), but furthermore point us toward the possibility of an ethical becoming which mirrors the movements of poetry, in contrast to following the rigid structures of absolute and fixed meaning. The overall intention in this analysis is not to find a clear, complete, or overarching thought which may point us toward the ethical or the good. The attempt here is to show that ethics is an activity, a continuous becoming (analogous to poetics) that can be sensed through a way of being in the world, and "being-with" the world, as compared to simply understood through cognitive forms of abstract knowledge. (shrink)

Blanchot’s rejection of vision as the fundamental philosophical metaphor is well known: “Seeing is not speaking” (The Infinite Conversation (Minneapolis: U of Minnesota P, 1993) 25). Furthermore, his central idea of the limit-experience (borrowed from Bataille) is a “detour from everything visible and invisible” (210). As part of his Heideggerian heritage, the increased importance of hearing (and aurality in general) lacks the critical appraisal it deserves. Pari passu for voice. Blanchot’s investigation of voice, spoken, interior, literary, is extensive. Various works (...) of fiction, notably The One Who Was Standing Apart From Me, explore the meme, which is intensified in critical essays on Hölderlin, Kafka, Rilke, and Valéry, where the voice’s musicality is given to performance. The studies exemplify the operation of “pure voice,” voice no longer in relation to and under the constraints of the interlocutor: its rhythm, tempo, and melody. His clearest, though lapidary, remarks on voice appear in discussion of the Narcissus mythomeme. There, voice is related not only to Narcissus’ love of an (unrecognized) self but also to the intrigue of Echo and her mimetic reproduction of voice. I give a close reading of Blanchot’s rendition of Ovid’s story to show the central role that voice plays in his “great refusal” of philosophy and concomitant opening to the outside, the “beyond being,” its nomadism and messianism. (shrink)

This article examines the special features of the atmosphere in Habsburg’s Vienna, which led to the formation of such a direction in philosophical thought as a critique of language (Sprachkritik) and the influence its representatives such as Karl Kraus and Fritz Mauthner on the later Ludwig Wittgenstein’s views on language. I argue that Sprachkritik was inextricably connected with Sprachkrise (crisis of language), Sprachkrise was a strongly Austrian phenomenon due to special socio-cultural-political reasons and which led to the consideration of the (...) very phenomenon of language from a new point of view. Here I claim that Ludwig Wittgenstein, a ‘product’ of Habsburg’s Vienna, was strongly influenced by the intellectual atmosphere of the critique of language reigning in it. In Roberto Poli’s (1997: 16), scholar in sociology and philosophy, words, the “language-world relationship was a central element of the intellectual debate of those years: suffice it to mention Rainer Maria Rilke and Hugo von Hofmannsthal among writers, and Fritz Mauthner and Ludwig Wittgenstein among philosophers.” . (shrink)

This thesis explores, thematically and chronologically, the substantial concordance between the work of Martin Heidegger and T.S. Eliot. The introduction traces Eliot's ideas of the 'objective correlative' and 'situatedness' to a familiarity with German Idealism. Heidegger shared this familiarity, suggesting a reason for the similarity of their thought. Chapter one explores the 'authenticity' developed in Being and Time, as well as associated themes like temporality, the 'they' (Das Man), inauthenticity, idle talk and angst, and applies them to interpreting Eliot's poem, (...) 'The Love Song of J. Alfred Prufrock'. Both texts depict a bleak Modernist view of the early twentieth-century Western human condition, characterized as a dispiriting nihilism and homelessness. Chapter two traces the chronological development of Ereignis in Heidegger's thinking, showing the term's two discernible but related meanings: first our nature as the 'site of the open' where Being can manifest, and second individual 'Events' of 'appropriation and revelation'. The world is always happening as 'event', but only through our appropriation by the Ereignis event can we become aware of this. Heidegger finds poetry, the essential example of language as the 'house of Being', to be the purest manifestation of Ereignis, taking as his examples Hölderlin and Rilke. A detailed analysis of Eliot's late work Four Quartets reveals how Ereignis, both as an ineluctable and an epiphanic condition of human existence, is central to his poetry, confirming, in Heidegger's words, 'what poets are for in a destitute time', namely to re-found and restore the wonder of the world and existence itself. This restoration results from what Eliot calls 'raid[s] on the inarticulate', the poet's continual striving to enact that openness to Being through which human language and the human world continually come to be. The final chapter shows how both Eliot and Heidegger value a genuine relationship with place as enabling human flourishing. Both distrust technological materialism, which destroys our sense of the world as dwelling place, and both are essentially committed to a genuinely authentic life, not the angstful authenticity of Being and Time, but a richer belonging which affirms our relationship with the earth, each other and our gods. (shrink)

"The Third Being" presents texts by A.V. Bronnikov, written from 2011–2019 and is devoted to issues regarding the philosophy of art, creativity and language. If the first being is the being of the eternal and divine and the second being is that of the temporary and human, then the new, third, being appears as the intersection and continuation of the first two. The third being is seen and anticipated in art—in the timeless and indestructible reality created by man, in the (...) reality of a poetic word that raises the world and its things to the level of form, image and idea. The book compares approaches to the philosophy of art and the theory of language by H.-G. Gadamer, M. Heidegger, G. Frege, R. Ingarden, R. Bart, L. Wittgenstein and J. Derrida. An important place is given to Russian religious philosophy, presented by P. A. Florensky, S. N. Bulgakov, N. A. Berdyaev and others. The publication contains essays on the life and work of poets R. M. Rilke, E. Pound and T. S. Eliot, as well as the first Russian translation of J. Derrida's “Advances,” known as the postmodern commentary on Plato's “Timaeus.” -/- Contents: Russia in Rilke / Plato's ideality of text / Word and world / Art as reality / Sacrality of art / Cosmists / Florensky space / Serial music of "Four Quartets" / Philosophy of "The Cantos" / Ezra Pound and his "Cantos" / Poetry: a breakthrough to reality / At the origin of the world / J. Derrida's "Advances". (shrink)

About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. -/- "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears (...) out the old to make way for the new." (Steve Jobs) -/- CONTENTS: -/- Death - Philosophy of death - Religions - - Animism - - Atheism - - Buddhism - - Christianity - - Hinduism - - Islam - - Jainism - - Jehovah's Witnesses - - Judaism - - Latter-day Saints - - Spiritism - Symbolism - Personification of Death - - Notable personifications - - In mythologies - - - Hindu mythology - - - In Japan - - - Slavic paganism - - - Lithuanian paganism - - In the three monotheistic religions - - - Judaism - - - Christianity - - - In Mexico - - - Islam - Axiochos - - The characters of dialogue - - Dialogue - - Prologue - - Arguments - - Citations - Paradise - - Greco-Roman mythology - - Mesopotamian mythology and influences - - According to Judaism - - According to Christianity - - - According to Catholicism - - - According to Protestantism - - - According to the Church of Jesus Christ of Latter-day Saints - - According to Islam - - According to Hinduism - - According to modern spiritualities - - - According to the esoteric - Hell - - Mesopotamian origins - - According to Christianity - - - Names appearing in the biblical texts - - - Medieval artistic representations - - - Concepts according to Christian movements - - According to Judaism - - According to Islam - - According to Buddhism - - According to Hinduism - - According to modern esotericism - - - According to Aïvanhov - - - According to Allan Kardec - - Philosophy - - - Jewish Kabbalah - - - Sartre - - - Popular wisdom Funerals - The funeral ritual: a rite of passage - Prehistory - Ancient death customs - - The family bereavement - - Mummification - - Sarcophagi - - Funerals - - Ancient Greece - - Ancient Rome - - Celts, Germans and Scandinavians - Religious funeral rites - - Buddhism - - Judaism - Christianity - - Protestantism - - Islam - Funeral rites by continent - - In Africa - - In Europe - The contemporary era - Mourning (Grief) - - Steps - - - Death of a close - - Loss events without mourning value (white factors) - - Duration and manifestations - - Risks - - Colors - Graveyards (Cemeteries) - - First cemeteries - - Cemeteries today - Funerary art - Dolmens - - Types of dolmens - - Function - - Location - Passage graves - Cenotaphs - - Famous cenotaphs - Lanterns of the Dead Afterlife - History - Questions about death and immortality - Testimonials - - Spiritualistic experiences - - Popular literature on the afterlife - - "Memories" and reminiscences - - Early studies of the science of the 19th century and early 20th century - Types of scenarios - Some religious and philosophical concepts - - Afterlife in Buddhism - - Afterlife in Christianity - - According to Hinduism - - According to Islam - - According to Judaism - - According to Mormonism - - According to the ancient philosophies - - According to Spiritism - - According to Native American traditions - - According to Vedism - - According to Esotericism - In science - Near-death experiences - - Clinical death - - NDE frequency - - Effects of depth of NDE on survival - - Near-death experiences and shared-death experience - - - The first contemporary testimonials - - - Experience according to Moody - - - The concept of "shared death" - - - The NDE scales - - The study of Pim van Lommel - - Spiritual and patient point of view - - - Survivalists studies - - - The religious understanding of the phenomenon - - Scientific views - - - Physiological explanation - - - Psychological explanation - Reincarnation - - Religions - - - In Hinduism - - - In Jainism - - - In Buddhism - - - In Judaism - - - In Christianity - - - In Islam - - In contemporary times - - - Esotericism - - - Works of the psychiatrist Ian Stevenson - - - Radical increase in life expectancy and artificial reincarnation - - Criticism - - - Arthur Schopenhauer - - - Ramana Maharshi - - - Rene Guenon - - - Ananda Kentish Coomaraswamy - Metempsychosis - - Theories - - Ideas - Maschalismos Immortality - Immortality of the soul and religious traditions - - Buddhism - - Christianity - - Islam - - Mormonism - Contemporary perception of the immortality of the body - - Observation in the animal kingdom - - Perspectives for mankind - Immortality in science - - Alexis Carrel - - Jean Rostand - - Hayflick limit - - Étienne-Émile Baulieu and DHEA - - Aubrey de Grey - - Professor Skulachev - - Regenerative medicine - - Professor Christopher Jaeger - Eternal Return - - According to the Mesopotamians - - According to Heraclitus and the Stoics - Fountain of Youth - - History of myth and relatives myths - - - In Roman mythology, Germanic, Celtic and Irish - - - In the Middle-East - - - In Spain - - - In the Bible - - The fountain in art and literature - - Painting - - - Literature and cinema - - Persistent of the myth until today - Senescence - - Why do we age? - - Gene regulation - - Cellular senescence Undead - Ghoul - Lich - Mummy - Skeleton - Vampire - Zombie - Other legendary creatures - Creatures specific to a particular universe - Spiritism - - Point out - - Origins of spiritism - - - The traditions through the ages - - - Advent of Christianity in Europe - - - The survival of necromancy - - - The precursors - - - Relations of spiritualism to science - Mediumship - - History - - Skeptical point of view - - Favorable doctor's viewpoint - Ghosts - - Appearance - - Belief in ghosts - - Origin - - - Duality and return dead - - - Ancient roots - - Typology - - - Poltergeists - - - Revenants - - - Ghosts - - - Banshees - - - Apparitions of crisis - - - Phantasms of the living - - - Vision of his own double - - - Ghost armies - - - Ghosts of animals - - - Means of transport - - Science perspective - - - Hallucinations - - - Sleep paralysis - - - Induced ghosts - - - Aches and infrasounds - - - Magnetic fields - Vampires - - Characteristics - - - Vampire transformation - - - Identification - - - Faculties - - Protection against the vampires - - - Precautions at death and burial - - - Apotropaic objects and places - - Destruction of vampires - Zombie - - The concept - - Africa and voodoo - - - West Africa - - - South Africa - - - In Haiti (and the Caribbean) - - - Scientific research - - The "revenants" in the Western imaginary Death in art - Memento mori - - History - - - Antiquity - - - Christianity - - - Mexican syncretism - - Performing arts - - - In painting - - - In literature - - - In movies - - - In video games - - - In Japanese animation - - - In music - The iconography of Weighing of souls (Particular judgment) - - Origin - - Written sources - - Weighing in Romanesque art - - Weighing in Gothic art - - Weighing in the late Middle Ages: to a new iconography - - Weighing of souls or actions? - Poems - - Charlotte Brontë, “On the Death of Anne Brontë” - - Edgar Allan Poe, “Annabel Lee” - - Edna St. Vincent Millay, “And you as well must die” - - Emily Dickinson, “Because I could not stop for Death” - - Emily Dickinson, “If I Should Die” - - Lord Byron, “Epitaph to a Dog” - - Pablo Neruda, “Only Death” - - Stephen Crane, “God Lay Dead in Heaven” - - W. B. Yeats, “He Wishes His Beloved Were Dead” - - Rainer Maria Rilke, “Death” - Paintings - - The Three Dead Kings - - The Death of Nelson - - Beata Beatrix - Sculptures - - The Kiss of Death - - Background - - Imagery - - Angel of Grief - - Fallen Astronaut - Quotes References About the author - Nicolae Sfetcu - - By the same author - - Contact Publishing House - MultiMedia Publishing -/- DOI: 10.58679/TW44411. (shrink)

The purpose of this thesis is to examine the significance of the 'joinings' [Fugen] in Martin Heidegger's 'Contributions to Philosophy (from the Event)'.

Hilary Putnam’s Realism with a Human Face began with a quotation from Rilke, exhorting us to ‘try to love the questions themselves like locked rooms and like books that are written in a very foreign tongue’. Putnam followed this advice throughout his life. His love for the questions permanently changed how we understand them. In Naturalism, Realism, and Normativity – published only a few weeks after his death – Putnam continued to explore central questions concerning realism and perception, from (...) the perspective of ‘liberal naturalism’. The volume’s thirteen papers were written over the past fifteen years (only one paper is new), and they show a man who fully inhabited the questions he loved. And the main significance of this book is that it shows – implicitly, but very clearly – quite how much of Putnam’s contribution to his philosophy is continuous with his ‘The Meaning of “Meaning”’. (shrink)

Starting from a new definition of existential paranoia, conceived philosophically as an altered form of solipsism or theologically as the revelation of an immanent inferno, we go on to explore the dissociative constitution of Dostoevsky’s novella, The Double. Influenced by the Shakespearean “I am not what I am”, Yakov Petrovich Goliadkin, the main character, builds an intriguing attack on the Jungian category of the persona, which we read as a symptom of indifferentiation. We will also analyze hero’s nightmare, where the (...) conflict between the Ego and the Doppelganger receives a tragic dimension, attempting to evaluate Goliadkin 1 and Goliadkin 2 through Jungian typology. Insights from Philip K. Dick, Emil Cioran, Rainer Maria Rilke or Mihai Eminescu will help us scrutinize the ambiguous and intricate “paranoid feeling of being”. (shrink)

This collection of essays explores what makes modern mathematics ‘modern’, where ‘modern mathematics’ is understood as the mathematics done in the West from roughly 1800 to 1970. This is not the trivial matter of exploring what makes recent mathematics recent. The term ‘modern’ (or ‘modernism’) is used widely in the humanities to describe the era since about 1900, exemplified by Picasso or Kandinsky in the visual arts, Rilke or Pound in poetry, or Le Corbusier or Loos in architecture (a (...) building by the latter graces the cover of this book’s dust jacket). (shrink)