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Cristian UngureanuPages 80-96DOI: 10.5840/cultura20063222 ABSTRACT “What is below is similar to what is above, and what is above is similar with what is below, in order to accomplish the miracle of one thing only.” Apart from an unexpected increase of the number and quality of the authentic Byzantine art exhibitions and of graphical and conceptual […]

Simona MitroiuPages 97-109DOI: 10.5840/cultura20063223 ABSTRACT The cultural identity is constructed around the elements kept in memory, but the configuration of the identity in time is given by the oblivion, which permanently acts on it. The knowledge of a person is accomplished both through the identification of the memorized clements and the sum and the character

Ovidiu BalanPages 110-114DOI: 10.5840/cultura20063224 ABSTRACT Manche Forscher haben versucht, Ulysses Fahrt auf geographischer Ebene zu rekonstruiren.! Andere Gelehrten haben ihr Bemiihen auf eine symbolischen oder allegorischen Deutung dieses Weges konzentriert. Diese Richtung kommt vermutlich schon in der Antike vor, aber die Werke der einen solchen Ansatz folgenden Autoren sind verloren gegangen; heutzutage sind uns nur

Paul BalahurPages 115-123DOI: 10.5840/cultura20063225 ABSTRACT Research in the world of Eminescu’s manuscripts has brought again to discussion the bond between culture and creation and, within this, the relation that we are especially interested in, that between Philosophy and Poetry. It is a known fact that the poet studied philosophical works intensely, not solely out of

Cristian UngureanuPages 124-128DOI: 10.5840/cultura20063226 ABSTRACT Like other major traditional arts, contemporary sculpture has become, in the third millennium of Post-Christ civilisation, a place where one can meet a great diversity of directions and artistic pursuits. The communication and digital transfer of data and information has favoured the influences and creative substances transfer from areas that

Gloria VergaraPages 7-18DOI: 10.5840/cultura2006316 ABSTRACT To speak of the influence of German poetry in Mexican Literature is a paradoxical question. On one hand, some critics affirm that Goethe and Schiller had a decisive influence over the Mexican romantic authors, while others as Enrique Anderson Imbert (History of Hispano-American Literature), only underline the indirect influence over

Carmen Cozma Pages 19-26DOI: 10.5840/cultura2006317 ABSTRACT A challenge to scrutinize the intimate unity of the aesthetical and the ethical levels of the human beingness in Friedrich Schiller’s theoretical writings makes the present essay’s content. We approach a basic idea unfolding the creed of the eminent artist and philosopher in the great power of ‘beauty’ to

Ioan Alexandru TofanPages 27-34DOI: 10.5840/cultura2006318 ABSTRACT My essay deals with two problems. First, I want to verify the possibility of a „non-metaphysical” perspective on Hegels writings and second, I want to answer the question „What kind of language is appropriate in order to express the speculative thought?”. I begin by discussing the Derrida’s view of

Ludmila BejenaruPages 35-40DOI: 10.5840/cultura2006319 ABSTRACT Since the first degrees of musicality of mankind, the music became a sphere of investigation for naturalists (Darwin), economists (Karl Bücher), philosophers (Spencer, Schopenhauer, Cioran), who tried to explain, through their theories, the process of the beginning and settlement of this phenomenon as well as its influence on the human

Manuela Teodora MihociPages 41-52DOI: 10.5840/cultura20063110 ABSTRACT Directive of muse, as any authentic poet, Friedrich Schiller, author of an indelibly work, expressed himself in various styles: theatre, lyrical, ballad, and works of aesthetical. Thirsty of truth, exceeding rationality, he wrote for cotemporary saddles a lesson of civilization, inviting on each to enjoy from art and to