Guía interpretativa de los motivos simbólicos de Homo faber

This article is an attempt to present an exhaustive and interpretative guide to the many symbolic aspects in Max Frisch’s HOMO FABER. Although some of these symbols are very evident, others are not, and demand a very good knowledge of the Greek culture and a solid interpretation to reach the deep level of the novel. With this work we hope that the common cultivated reader might achieve an integral reading of the novel on its many levels. First we analyze the symbolic use of TIME and its many mergings with the meaning and the formal structure of the novel: Faber’s travels, the analepses and prolepses, their use and meaning. Afterwards we proceed to a counting and detailed analysis of the many symbolic aspects of the novel in connection with the Greek world —aspects that allow and confirm the possible interpretation of the novel as a modern Greek tragedy about destiny— beginning with the masculine mythological figures hiding under the main protagonist Faber (Ulisses, Agamenon, Edipus, etc.), and ending with topics such as blindness, Greek art, the placenames, etc. We also analyze the symbolic topics in relation with nature (the moon eclipse, etc.), the physical and psychological sensations (like cold and heat, trembling, etc.) and we conclude with an analysis of the symbolic value of colours (red and black) in the novel

"And Why Not?" Hegel, Comedy, and the End of Art

Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose their necessity and so their redemptive conclusions; comic plots disintegrate into mockery and entertainment. In many cases, the dramas in question consequently fail to be art. This does not, however, mean that art ends: insofar as it inspires humans to a better understanding of their unity with the divine, it will continue to meet its mandate. But the lack of necessity in modern drama means we are free to prefer happy endings. Hegel’s seemingly arbitrary preference is, in the end, systematically justified

The Formula of Justice: The OntoTopological Basis of Physica and Mathematica*

Dialectica: Mathematica and Physica, Truth and Justice, Trick and Life. Mathematica as the Constructive Metaphysica and Ontology. Mathematica as the constructive existential method. Сonsciousness and Mathematica: Dialectica of "eidos" and "logos". Mathematica is the Total Dialectica. The basic maternal Structure - "La Structure mère". Mathematica and Physica: loss of existential certainty. Is effectiveness of Mathematica "unreasonable"? The ontological structure of space. Axiomatization of the ontological basis of knowledge: one axiom, one principle and one mathematical object. The main ideas and concepts of the ontological construction/ "Point with a vector germ" and "heavenly triangle". "Ordo geometricus" and "Ordo onto-topological". Architecture of the onto-topological basis of knowledge: general framework structure, carcass and foundation. The absolute space and the absolute field. The absolute (natural) system of coordinates of Universum. Eidos of "idea of ideas", the symbol and the "formula of Justice"

Tennyson's In Memoriam; an introduction and analysis

Thesis (M.A.)--Boston University, 1917. This item was digitized by the Internet Archive

Determiner spreading as DP-predication

Determiner Spreading (DS) occurs in adjectivally modified nominal phrases comprising more than one definite article, a phenomenon that has received considerable attention and has been extensively described in Greek. This paper discusses the syntactic properties of DS in detail and argues that DS structures are both arguments and predication configurations involving two DPs. This account successfully captures the word-order facts and the distinctive interpretation of DS, while also laying the groundwork towards unifying it with other structures linking two DPs in a predicative relation

The Foucaultian archaeological method in Giorgo Agamben

Agamben has claimed to work inside the tradition inaugurated by the archaeological method of Michel Foucault but not to fully coincide with it. “My method is archaeological and paradigmatic in a sense which is very close to that of Foucault, but not completely coincident with it. The question is, facing the dichotomies that structuralize our culture, to go beyond the exceptions that have been producing the former, however, not to find a chronologically originary state, but to be able to understand the situation in which we are. Archaeology is, in this sense, the only way to access present” (interview to Flavia Costa, trad. Susana Scramim, in Revista do Departamento de Psicologia – Universidade Federal Fluminense, Niterói, v. 18 - n. 1, 131-136, Jan./Jun. 2006, 132, translated by the author). However, the aspects in which Agamben follows Foucault's method and the ones he does not were never very clear. This situation seems to change with the edition of Agamben's most extensive and explicit texts on method, Signatura Rerum. Sul Metodo (2008, italian edition). The goal of this article is to identify the points of intersection between their methods and some points in which they differ