The understanding of principle in Pythagorean philosophy

Pričujoča diplomska naloga se ukvarja s specifičnim področjem predsokratske filozofijes počelom, kot so ga pojmovali pitagorejci. Na podlagi proučevanja primarne in sekundarne literature analizira splošno sprejeto prepričanje, da je pitagorejsko počelo število. Naloga si prizadeva osvetliti različna pojmovanja počela, kot jih zasledimo v primarni literaturi fragmentov predsokratikov, nadalje pa skuša v smiselno celoto povezati pitagorejski nauk o številu. Izvemo, da je naš glavni vir ideje, da so Pitagorejci za svoje počelo izbrali število, Aristotel, zunaj njegovih pričevanj pa imamo za to idejo le malo dokazov. Filolaj v svojih fragmentih sicer govori o številih, vendar le v epistemološkem in ne ontološkem smislu. Pred samo število kot počelo postavlja mejo in brezmejno.The assignement presents the specific area of Presocratic philosophythe principle as it was postulated by Pythagoreans. On the basis of analizing primary and secondary literature the assignement evaluates generally accepted opinion that the Pythagorean principle is number. It tries to shed light on different conceptions of Pythagorean principle as we find it in primary literature of Presocratic fragments and further on tries to bind the Pythagorean conception of number into a wholesome story. Our primary source of the theory that principle is number is Aristotle and outside of his writings we find little proves for the theory. Philolaus in his fragments speaks of number but only in epistemological not ontological sense. As a principle before the number itself he postulates limited and unlimited

The images of death in the poetry of Louise Glück: Onkraj noči

Diplomska naloga poskuša osvetliti podobe smrti, kot jih najdemo v slovenskem izboru poezije Louise Glück z naslovom Onkraj noči. Naloga izpostavi podobo smrti, kot se je pojavljala skozi zgodovino filozofije in literature, opozori na značilnosti poetike Louise Glück, nadalje pa v svojem osrednjem delu analizira devetnajst izbranih pesmi iz izbora Onkraj noči, ki se nanašajo na temo smrti. Pri tem ugotavlja, da pesnica v svojih pesmih o smrti najpogosteje govori skozi podobo izgube bližnjega, prav tako pa govori tudi o neumrljivosti duha, smrti kot svobodi, smrti iz ljubezni, želji po preživetju, neizogibnosti smrti ter strahu pred smrtjo. Pesnica motiviko izraža skozi pripovedni slog in refleksijo, redkeje skozi prispodobe. S svojo poezijo se bori proti pozabi.The assignement presented tries to shed light on the images of death as we find them in Slovenian selection of Louise Glück’s poetry called Onkraj noči. It focuses on the image of death during the history of philosophy and literature, stresses the characteristics of Louise Glück’s poetics and further on analizes nineteen poems from the selection that talk about death. It finds out that the most common image of death in Glück’s poems is the loss of a close person but she also talks about the immortality of spirit, the death as freedom, the death from love, the strive towards survival, the inevitability of death and the fear before death. The poetess expresses the death motifs through narrative style and reflexion, more seldom through metaphors. With her poetry she fights the oblivion

Love in the work Secret life by Pascal Quignard

V pričujoči magistrski nalogi se lotevam analize osrednje teme v delu sodobnega francoskega pisatelja Pascala Quignarda. Delo, ki primarno govori o ljubezni, je tako po svoji obliki kot vsebini izjemno izmuzljivo, gre namreč za nenavaden hibrid med teorijo in pripovedjo. Ravno zaradi nedoločljive oblike, pa tudi vseh vsebinskih potez, se Skrivno življenje kaže kot precej posebno delo, ki ga težko opredelimo tako zvrstno kot žanrsko. Delo daje vtis nekakšnega poetičnega avtobiografskega zapisa, ki močno sega na področje filozofije in se pri tem opira na reference iz klasične, srednjeveške in moderne umetnosti, predvsem literature in glasbe. Razlikovanje med pripovedovalcem in avtorjem je v delu vprašljivo. Quignard se loteva ambicioznega projekta: popisati ontologijo ljubezenske izkušnje, od njenih izvorov, ki segajo pred samo govorico, jezik, logos, do popisa njenih dveh polov, fascinacije kot trenutka soočenja med spoloma ter želje kot razhromitve tega vase vklepajočega stanja. Pisatelj se ves čas vrti okoli povezave med ljubeznijo in smrtjo, kritike govorice kot zasužnjujoče in prikrivajoče poteze družbe ter slavljenja lepote ljubezni in izginjanja. Čeprav bi lahko Skrivno življenje označili za lep hommage tej osnovni življenjski sili, ki v sebi nosi nekaj temeljno neizrekljivega, se vseeno zdi, da pisatelj nikoli ne pride do tega, kar je v bistvu cilj ‒ Enost.The following assignement presents the central theme of the work from modern French writer Pascal Quignard. The work mainly speaks about love but is very elusive regarding its form and content. Because of the form that is udefineable and due to the properties of the content, Secret life functions as something special, a work impossible to pin down in terms of literary species and genres. The work presents itself as a kind of poetical autobiographical text that is strongly connected to the field of philosophy. It uses several references from the world of classical, medieval and modern art, mostly literature and music. The differentiation between the narrator and the author is questionable. Quignard undertakes an ambitious journey: to describe and define the ontology of experience of love, from its origins before the speech, language, logos, to its two poles, fascination as the moment of confrontation between the sexes and desire as a kind of disarmament of this paralyzing state of being. The author constantly revolves around the connection between love and death, the critics of speech as enslaving and disguising property of society and the worship of love’s beauty and dissapearance. Even though Secret life can be denoted as a beautiful hommage to this life-giving force that is fundamentally unspeakable, it still seems that the writer never achieves the ultimate goal ‒ Unity