4,065 matches
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Edgar Allan Poe, "Marginalia [part ÎI]" (B), în Democratic Review, December 1844", Essays and Reviews, 1982, p. 1355: "The higher order of genius should, and will, combine the original with that which is natural - not în the vulgar sense, (ordinary) - but în the artistic sense, which hâș reference to the general intention of Nature", i.e., în raport cu ordinea și armonia perfectă a universului". Pentru Barbu, similitudinile dintre punctul de vedere poesc prezentat mai sus și "leș lois de la vie", (i.e., tendințelor generale
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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ouverte, c'est donc en agissant, en créant, plutôt qu'en contemplant". 77 Ion Barbu, "Cuvânt către poeți" (1941), în Versuri și proza, 1984, p. 182. 78 Empedocles, "The Sphere", fragment 21, în The Fragments of Empedocles, 1908, p. 25: "But come, and to my words foresaid look well, / If their wide witness anywhere forgot / Aught that behooves the elemental forms: /Behold the Sun, the warm, the bright-diffused; / Behold the eternal Stars, forever steeped / În liquid heat and glowing radiance; see
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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course along / Through one another, they take new faces all, / By varied mingling and enduring change". 79 Poe, Edgar Allan, "The Colloquy of Monos and Una", în The Complete Tales and Poems of Edgar Allan Poe, 1982, p. 444: "Una. But the memory of past sorrow - is it not present joy? I have much to say yet of the things which have been. Above all, I burn to know the incidents of your own passage through the dark Valley and Shadow
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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de artă concepută că un efort de integrare" (1920), în Ion Barbu, Opere, 2000, ÎI, pp. 1-9. 83 Edgar Allan Poe, "Joseph Rodman DrakeFitz-Greene Halleck", în Essays and Reviews, 1984, p. 511: " For a poem is not the Poetic faculty, but the means of exciting it în mankind. Now these means the metaphysician may discover by analysis of their effects în other cases than his own, without even conceiving the nature of these effects thus arriving at a result". [..] the only
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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Poetic Principle", în Essays and Reviews, p. 71: "I need scarcely observe that a poem deserves its title only inasmuch aș it excites, by elevating the soul. The value of the poem is în the rațio of this elevating excitement. But all excitements are, through a psychal necessity, transient. That degree of excitement which would entitle a poem to be șo called at all, cannot be sustained throughout a composition of any great length. After the lapse of half an hour
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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and the Hope of a higher Intellectual Happiness hereafter. Imagination is its Soul". O notă de la pagina 511 conține următorul comentariu: "Imagination is, possibly, în mân, a lesser degree of the creative power în God. What the Deity imagines, is, but was not before. What mân imagines, is, but was also. The mind of mân cannot imagine what is not. This latter point may be demonstrated". 91 Worms, Frédéric, "L'art et le temps chez Bergson: Une problème philosophique au cœur
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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hereafter. Imagination is its Soul". O notă de la pagina 511 conține următorul comentariu: "Imagination is, possibly, în mân, a lesser degree of the creative power în God. What the Deity imagines, is, but was not before. What mân imagines, is, but was also. The mind of mân cannot imagine what is not. This latter point may be demonstrated". 91 Worms, Frédéric, "L'art et le temps chez Bergson: Une problème philosophique au cœur d'un moment historique", în Mil neuf cent
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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în order to think; and that if it were not în front of me here on the table aș I write you, I would become Nothingness again. Which means that I am impersonal now: not the Stéphane you once knew, but one of the ways the Spiritual Universe hâș found to see Itself, unfold Itself through what used to be me". 20 Arthur Rimbaud. "Lettre à Paul Demeny", în Arthur Rimbaud. Lettres du Voyant (13 et 15 mai 1871), 1975, p.
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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soul". Something of the kind appears indispensable în art. We can, at any time, double the true beauty of an actual landscape by half closing our eyes aș we look at it. The naked senses some times see too little, but then always they see too much". 35 În Edgar Allan Poe, "Review of Ballads and Other Poems, by Henry Wadsworth Longfellow, Burton's Gentleman's Magazine, February 1840", în Essays and Reviews, 1984, p. 685: "But this repetition is not
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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times see too little, but then always they see too much". 35 În Edgar Allan Poe, "Review of Ballads and Other Poems, by Henry Wadsworth Longfellow, Burton's Gentleman's Magazine, February 1840", în Essays and Reviews, 1984, p. 685: "But this repetition is not Poesy. He who shall merely sing with whatever rapture, în however harmonious strains, or with however vivid a truth of imitation, of the sights and sounds which greet him în common with all mankind - he, we
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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with the want of the eyeball. The hair of the Venus de Medicis was gilded. Truth indeed! The grapes of Zeuxis aș well aș the curtain of Parrhasius were received aș indisputable evidence of the truthful ability of these artists but they were not even classed among their pictures. If truth is the highest aim of either Painting or Poesy, then Jan Steen was a greater artist than Angelo, and Crabbe is a more noble poet than Milton". 37 În The
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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p. 495. 47 La o concluzie asemănătoare, dar din altă perspectivă, ajunge și Robert D. Jacobs, în Poe, Journalist & Critic, 1969, p. 452: "Poe did not demand art for art's sake. He demanded art for the soul's sake, but he mitigated his demand by recognizing that art would have to be impure to reach the public...". 48 Ion Barbu, "Evoluția poeziei lirice după E. Lovinescu", în Versuri și proza, 1984, p. 169. 49 Că și pentru Poe, Valéry, ori
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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que soit le tout". 69 Edgar Allan Poe, Eureka. A Prose Poem by Edgar A. Poe, 1848, p. 143. 70 Idem, p. 130. 71 Idem, p. 140: "We walk about, amid the destinies of our world existence, encompassed by dim but ever present Memories of a Destiny more vast - very distant în the bygone time, and infinitely awful". 72 Hermes Trismegistus, The Emerald Tablet, 1923, p. 562: "That which is above is from that which is below, and that which is
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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Essays and Reviews, 1984, p. 1363: "Men of genius are far more abundant than is supposed. În fact, to appreciate thoroughly the work of what we call genius, is to possess all the genius by which the work was produced. But the person appreciating may be utterly incompetent to reproduce the work, or any thing similar, and this solely through lack of what may be termed the constructive ability a matter quite independent of what we agree to understand în the
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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itself. This ability is based, to be sure, în great part, upon the faculty of analysis, enabling the artist to get full view of the machinery of his proposed effect [s.n.], and thus work it and regulate it at will; but a great deal depends also upon properties strictly moral for example, upon patience, upon concentrativeness, or the power of holding the attention steadily to the one purpose, upon selfdependence and contempt for all opinion which is opinion and no more
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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hâș been applied. I mean its extreme porousness [s.n.], considered independently of the worm-eaten condition which is a consequence of navigation în these seas, and apart from the rottenness attendant upon age. It will appear perhaps an observation somewhat over-curious, but this wood would have every characteristic of Spanish oak, if Spanish oak were distended by any unnatural means. 16 J. E. Cirlot, A Dictionary of Symbols, 2001, p. 294. 17 Sugestia poate să fi venit și de la teoria " pământului gol
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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o sticlă". 18 Edgar Allan Poe, "MS Found în a Bottle", în The Complete Tales and Poems, 1982, pp. 125-126: "All în the immediate vicinity of the ship, is the blackness of eternal night, and a chaos of foamless water; but, about a league on either side of uș, may be seen, indistinctly and at intervals, stupendous ramparts of ice, towering away into the desolate sky, and looking like the walls of the universe [s.n.]". Aș I imagined, the ship proves
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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whose attainment is destruction. Perhaps this current leads uș to the southern pole itself. It must be confessed that a supposition apparently șo wild hâș every probability în its favor. The crew pace the deck with unquiet and tremulous step; but there is upon their countenances an expression more of the eagerness of hope than of the apathy of despair. În the meantime the wind is still în our poop, and, aș we carry a crowd of canvass, the ship is
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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opens suddenly to the right, and to the left, and we are whirling dizzily, în immense concentric circles, round and round the borders of a gigantic amphitheatre, the summit of whose walls is lost în the darkness and the distance. But little time will be left me to ponder upon my destiny! The circles rapidly grow small - we are plunging madly within the grasp of the whirlpool - and amid a roaring, and bellowing, and thundering of ocean and of tempest, the
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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the praise of the deeds of his hero's ancestors, it may be; he recalls old myths, or he expresses his own profound view of life, wealth, dominion, whatever is great and honourable, the sublimity and charm of the Muses, but above all the dignity of the bard. Consequently, în his poems he is not șo much concerned to honour the hero whose fame he spreads în this way aș to make himself, the poet, heard. He himself hâș not the
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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qu'elle se fraye d'avance, par la perception, dans l'enchevêtrement du réel, l'individualité du corps se résorbe dans l'universelle interaction qui est sans doute la réalité même". 85 Martin Heidgger, Poetry, Language, Thought, 1975, p. 12: "But poetry that thinks is în truth the topology of being". 86 Vezi Antoine Faivre, Access to Western Esotericism, 1994, pp. 19-23. 1 Ion Barbu, "Poezia leneșa", în Versuri și proza, 1984, p. 170. 2 Ion Barbu, "Fragment dintr-o scrisoare
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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out what language is certainly has multiple variants and coordinates, yet the main element of this endeavour is the philosophical attitude embraced by the research, an attitude understood as the foundation of the assumptions, principles and methods that are accepted, but also as the standpoint attributed to philosophy in relation to metaphysics and linguistics. First of all, one has to conclude that there are two possibilities of approaching language philosophically: one of them looks upon language from the inside, while the
Elemente de filozofia limbii by Ioan Oprea () [Corola-publishinghouse/Science/1424_a_2666]
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solely the interest in language and certain significance to other philosophical studies. This happens because it is philosophy, and therefore it does not follow neither from a historical perspective, nor from the perspective of a certain age a unique direction, but it changes its object, its method and its aim ceaselessly. As such, the philosophy of language is not familiar with the continuity of investigations and with the interest in the latest breakthrough, being therefore an approach to things different from
Elemente de filozofia limbii by Ioan Oprea () [Corola-publishinghouse/Science/1424_a_2666]
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continuity of investigations and with the interest in the latest breakthrough, being therefore an approach to things different from science; in this respect, it builds a sphere different from the one of general linguistics, which is also a theoretic discipline, but one oriented towards solving problems pertaining strictly to language, with no immediate connection to the philosophical field. And yet, due to the common object, this demarcation also implies vast and numerous interference areas between the philosophy of language and general
Elemente de filozofia limbii by Ioan Oprea () [Corola-publishinghouse/Science/1424_a_2666]
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of the two fields have great opportunities of benefiting by the mutual achievements. Language is the manifestation of a general human faculty, i.e. the ability to communicate and express thoughts, feelings, desires, etc.; nevertheless, this ability is not generally human, but it varies according to the different human communities and can be related to their historical, social, and cultural existence. This is the reason why individuals practice their innate faculty to communicate by integrating themselves in the tradition of their community
Elemente de filozofia limbii by Ioan Oprea () [Corola-publishinghouse/Science/1424_a_2666]