4,065 matches
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E. Sydney: Angus and Robertson [295]. Plato 1935. Plato's Republic (trad. Lindsay, A.D.). London: Dent [225]. 1966. Plato's Republic (trad. Richards, I.A.). Cambridge: Cambridge University Press [259, 304, 332]. Pleynet, Marcelin 1968. La poésie doit avoir pour but... Foucault, Michel, Barthes, Roland, Derrida, Jacques, Baudry, Jean Louis, et al. Théorie d'ensemble. Paris: Éditions de Seuil, pp.94-126 [285]. Pollard, Albert Frederick 1897, ed., Political pamphlets selected and arranged. London: Kegan Paul, Trench, Trubner [147, 301, 337]. Popper
Sociologia minciunii by J. A. Barnes () [Corola-publishinghouse/Science/1068_a_2576]
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Fiecare bărbat a adus o copie a regulilor școlii lui sau le-a știut pe dinafară, și progresul nostru în a schița noile reguli a fost lent.” Aceste „Reguli de la Cambridge”, 14 la număr, prevăd dimensiunile terenului de joc, ale buturilor, lovitura liberă și încercarea. S-a stabilit clar că: „Un gol este acordat pentru mingi care au fost lovite numai cu piciorul între stâlpii verticali și sub transversala porții. Tuturor jucătorilor li se permite să prindă mingea direct de la picior
Metodica predării fotbalului în gimnaziu by Gheorghe BALINT () [Corola-publishinghouse/Science/1663_a_3119]
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Law in International Politics, Oxford University Press, Oxford. Krause, Keith (1996), „Critical Theory and Security Studies”, YCISS Occasional Paper, nr. 33 (februarie). Krause, Keith (2004), „Is human security more than just a good idea?”, BICC Brief, nr. 30 (Promoting security but how and for whom?), http://www.humansecuritycentre.org/publications/bicc brief 30.pdf. Krause, Keith; Michael C., Williams (1996), „Broadening the Agenda of Security Studies: Politics and Methods”, Mershon International Studies Review, vol. XL, nr. 2, pp. 229-254. Krause, Keith; Michael
Politica de securitate națională. Concepte, instituții, procese by Luciana Alexandra Ghica, Marian Zulean () [Corola-publishinghouse/Science/2345_a_3670]
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policy-efficient appraisals of security threats at a regional level require a nuanced understanding of the ways international actors mentally represent and define the limits of regions in which they are engaged. Current scholarship still debates the universality of regional-boundary drawing but without significant achievements. However, the focus on identity is increasingly accepted as a possible solution to end this deadlock. Strategic Studies (Daniel Bíro) This chapter provides a roadmap of the strategic studies in the larger frame of International Relations literature
Politica de securitate națională. Concepte, instituții, procese by Luciana Alexandra Ghica, Marian Zulean () [Corola-publishinghouse/Science/2345_a_3670]
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strategy and shows that, from the standpoint of the position in the international arena, there is a distinction between Grand Strategy and the national security strategy. The purpose of this endeavor is not only to examine the major strategic principles but also to analyze the possibilities of articulating the elements of strategic logic, based on its strategic levels and dimensions. Strategic Decision-making under Uncertain Conditions (Dragoș Paul Aligică & Marian Zulean) In this chapter, we present the main concepts, methods and challenges
Politica de securitate națională. Concepte, instituții, procese by Luciana Alexandra Ghica, Marian Zulean () [Corola-publishinghouse/Science/2345_a_3670]
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that political philosophy should be done completely "outside ethics", i.e., that it should stop using arguments based on "pre-political" moral principles or values (as radical realists claim). The book pleads for four main conclusions: 1) that radical realism is nothing but moralism in disguise and that its methodological request - giving up moral principles or values in political philosophy - is "unrealistic" (unfeasible), as long as no plausible (i.e., egalitarian) account of political legitimacy or authority can be grounded without appeal to the
În afara eticii? Filosofia politică și principiile morale by Eugen Huzum () [Corola-publishinghouse/Science/84953_a_85738]
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grounded without appeal to the principle of basic human equality or the principle of treating people as (free and) equals; 2) that political philosophy is not quite accurately described as a branch of ethics, as moralist political philosophers usually do, but this is not because of the reasons usually offered by moderate realists, but because political philosophy includes at least one project that cannot be unquestionably subsumed to this characterization (i.e., the project of the purely epistemic justification of liberal democracy
În afara eticii? Filosofia politică și principiile morale by Eugen Huzum () [Corola-publishinghouse/Science/84953_a_85738]
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of treating people as (free and) equals; 2) that political philosophy is not quite accurately described as a branch of ethics, as moralist political philosophers usually do, but this is not because of the reasons usually offered by moderate realists, but because political philosophy includes at least one project that cannot be unquestionably subsumed to this characterization (i.e., the project of the purely epistemic justification of liberal democracy); 3) that moralism is a methodology that political philosophy is perfectly justified to
În afara eticii? Filosofia politică și principiile morale by Eugen Huzum () [Corola-publishinghouse/Science/84953_a_85738]
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is knowledge thing of intuition" [nici chiar aici [în Aidenn] cunoașterea nu este intuiție]2 -, ci acumulare progresivă, cu alte cuvinte, înscriere a acestei experiențe în tipare cognitive precise, pentru ca, așa cum dezvăluie Agathos lui Oinos, "not în knowledge is happiness, but în the acquisition of knowledge" [nu în cunoaștere se află fericirea, ci în achiziția cunoașterii"]3. Ion Barbu nu pare să gândească diferit în "Veghea lui Usher": Cunoașterea era aici locuire, canonica deplasare în Spirit. Verificare a gândurilor iubite, pe
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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et leș operations de l'art șont egalement possibles." Not surprisingly, the imaginary "dramă of ideas", by which Ion Barbu articulates his own vision, borrows from the Poesque tale, the main "stage", a significant number of its "characters" and "actions", but also some of its deeper motivations. The apologue, which through its unusual qualities, could știr the interest of a spirit "subjected to Urania", aș the Romanian poet portrays himself, counts, în his opinion ("Rimbaud", 1947, conference), among those very few
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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and intensifies the dată of ordinary perception, via an energetic process of imaginative projection. The Romanian poet, himself aspiring to a more direct vision of reality, possibly found în these formulations a confirmation of his own intuitions. He could not but adhere to the position of someone who claimed that the function of art was to recover, through reflection and symbolization, that irresistible thrust, characteristic of life, by virtue of which this is continuous and indivisible movement and change, and to
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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Malleability, the capacity of generating unity ouț of multitude of heterogeneous elements characterize it. The form intuited by the author, aș a constitutive principle, în accordance to which the individual, particular work consummates itself, is not an abstract geometrical framework, but a concrete and diverse "world". It is a locus mirabilis, ăn intermediary world between the formal and the informal. Through it, material objects dissolve topologically în another superior reality. Both for Poe and for Barbu, the imaginary space of creation
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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hâș alienated himself from his Creator, by excessively cultivating practical reasoning (sciences), while neglecting the intuitions of the poetical faculty. For Poe, human existence is, în itself, painful, and divine pleasure, which could soften, though temporally, this pain, cannot come but from the Poet, who thus proves his sacred title, adapting the primary materials of art, to man's limited capacities of knowledge. His obligation, says Poe, în the "Poetic Principle", is to make uș feel Beauty. Fascinated with the world
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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to his own reverie, if it were not for another aspect of the creative process, emotion, which Barbu must have understood, în the manner of Bergson, aș "an exigency to create". Emotion is no longer the effect of some representation, but it is itself creative, it precedes any representation, and generates new ideas. It does not have properly an object, only an essence, it is like the divine Love that sheds over the whole of nature. With the Romanian poet, it
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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bonds of his attention to life, and making a Creator of him. This deliverance is achieved în some privileged spirits only. The role of art, aș Edgar Poe suggests în the Drake-Halleck review, is not to replicate a certain experience, but to indicate readers the path to Absolute Beauty. The poet's magnificent vision cannot be communicated to others directly, only its effect, the poetical sentiment that accompanies it However, the American author seems to reduce it to the quality of
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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generated by it and the rhetoric necessary for its production. În "The Philosophy of Composition", Poe states "the death, then, of a beautiful woman is, unquestionably, the most poetical topic în the world". By contrast, with Ion Barbu, femininity hâș but a cosmic dimension, and the individual is seen only form the perspective of "devising the adventure of being" ("Răsăritul crailor" [Rise of the Magi]). Poe's heroines, all belong to the immediate experience, and live în accordance with a prevalent
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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reinvesting them with orphic powers. This way, Barbu confirms the magical power of poetry to call into existence new things, to create a world, endowed with meaning, which thus becomes real for uș. The poem, which, în its materiality, is but a relation of elements, thus comes to celebrate the mystery of the form that gradually and hesitatingly emerges from it; it is not the expression of a preconceived idea, but the abstract play of form itself. That poetry shows a
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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real for uș. The poem, which, în its materiality, is but a relation of elements, thus comes to celebrate the mystery of the form that gradually and hesitatingly emerges from it; it is not the expression of a preconceived idea, but the abstract play of form itself. That poetry shows a cognitive facet is obvious from Poe's Eureka (1848), where he identifies a single authentic path of "Consistency", i.e., Truth, namely, aesthetic production. He thus acknowledges that art hâș the
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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transcendental sense that the orderly, the consistent, and the symmetrical are always true [s.n.]. Order was the principle; disorder was the condition în which the principle must be discovered and revealed. The principle was true under the aspect of eternity, but the 'truth' which mân acknowledged, the truth of the onditioned and the contingent, could not be expressed by fiction". 7 Edgar Allan Poe. Eureka, 1848, p. 9: "But even of treatises on the really limited, although always assumed aș the
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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discovered and revealed. The principle was true under the aspect of eternity, but the 'truth' which mân acknowledged, the truth of the onditioned and the contingent, could not be expressed by fiction". 7 Edgar Allan Poe. Eureka, 1848, p. 9: "But even of treatises on the really limited, although always assumed aș the unlimited, Universe of stars, I know none în which a survey, even of this limited Universe, is șo taken aș to warrant deductions from its individuality". 8 Ibidem
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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top of Ætna casts his eyes leisurely around, is affected chiefly by the extent and diversity of the scene. Only by a rapid whirling on his heel could he hope to comprehend the panoramă în the sublimity of its oneness. But aș, on the summit of Ætna, no mân hâș thought of whirling on his heel, șo no mân hâș ever taken into his brain the full uniqueness of the prospect; and șo, again, whatever considerations lie involved în this uniqueness
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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its planetary relations alone. A mân, în this view, becomes mankind; mankind a member of the cosmical family of Intelligences. 10 Idem, p. 8: "There is, în this world at least, no such thing aș demonstration". 11 Idem, p. 9: "But even of treatises on the really limited, although always assumed aș the un limited, Universe of stars, I know none în which a survey, even of this limited Universe, is șo taken aș to warrant deductions from its individuality". 12
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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aș the un limited, Universe of stars, I know none în which a survey, even of this limited Universe, is șo taken aș to warrant deductions from its individuality". 12 Ibidem: "He presents the subject, however, not în its individuality but în its generality. His theme, în its last result, is the law of each portion of the merely physical Universe, aș this law is related to the laws of every other portion of this merely physical Universe. His design is
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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of every other portion of this merely physical Universe. His design is simply synœretical. În a word, he discusses the universality of material relation, and discloses to the eye of Philosophy whatever inferences have hitherto lain hidden behind this universality. But however admirable be the succinctness with which he hâș treated each particular point of his topic, the mere multiplicity of these points occasions, necessarily, ăn amount of detail, and thus an involution of idea, which preclude all individuality of impression
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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whom I love - to those who feel rather than to those who think - to the dreamers and those who puț faith în dreams aș în the only realities - I offer this Book of Truths, not în its character of Truth-Teller, but for the Beauty that abounds în its Truth; constituting it true. To these I present the composition aș an Art-Product alone: - let uș say aș a Românce; or, if I be not urging too lofty a clăim, aș a Poem
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]