1,891 matches
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limitless directions that whatever the effort toward expanding it will always leave spaces that can be filled, reordered or reinterpreted. Methodically, the syncretism of the book can also be found due to the variety of information. Such simple descriptions of some historical realities aimed at outlining some ideas, descriptions of specific ideas about history of science, philosophy and culture, combined with text analysis, original ideas or interpretations can be found too. Keywords: Renaissance, Early Modernity, the imaginary censorship, scientific imaginary, Francis
Anul 1600: cenzura imaginarului științific la începutul modernității by Dan Gabriel Sîmbotin () [Corola-publishinghouse/Science/84931_a_85716]
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toward expanding it will always leave spaces that can be filled, reordered or reinterpreted. Methodically, the syncretism of the book can also be found due to the variety of information. Such simple descriptions of some historical realities aimed at outlining some ideas, descriptions of specific ideas about history of science, philosophy and culture, combined with text analysis, original ideas or interpretations can be found too. Keywords: Renaissance, Early Modernity, the imaginary censorship, scientific imaginary, Francis Bacon, René Descartes. Résumé Ce livre
Anul 1600: cenzura imaginarului științific la începutul modernității by Dan Gabriel Sîmbotin () [Corola-publishinghouse/Science/84931_a_85716]
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vie des images, Grenoble, Presses Universitaires de Grenoble, 2002. Wunenburger, Jean-Jacques, Philosophie des images, Paris, PUF, 2007. Abstract The current volume is trying to make a certain distinction inside the relationship between the Church and the interwar intelligentsia, starting from some punctual and extremely actual problems, for the given context: the Patriarchal Regency, the Calendar, the inclusion of the politic inside the Ecclesia's life and the theological instruction. In this book we are trying to follow the intrinsic relations between
Biserica şi elitele intelectuale interbelice by Constantin Mihai [Corola-publishinghouse/Science/898_a_2406]
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consideration the reporting between the Church and elite is an essential one for the reconfiguration of the interwar intelligentsia's history, mostly because it gives the measure of normal cultural practices development and its representations. The call to memory through some authentic models is an exercise that should be increasingly present inside the Romanian space, given that a change, a refresh is needed. Recalibration to the genuine intellectual tradition is an important first step to the awareness of a culture of
Biserica şi elitele intelectuale interbelice by Constantin Mihai [Corola-publishinghouse/Science/898_a_2406]
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în European Journal of Political Research, 30 (2), pp. 41-63. Munck, G. și Skalnik Leff, C., 1997, "Modes of transition and democratization: South America and Eastern Europe in comparative perspective", în Comparative Politics, 29 (3), pp. 343-362. Neubauer, D.E., 1967, "Some conditions of democracy", în American Political Science Review, 61. Newton, K. și Norris, P., 2000, Confidence in Public Institutions: Fate, Culture, or Performance?, în Pharr și Putnam [2000]. Nordlinger, E.A., 1978, I nuovi pretoriani: l'intervento dei militari in politica
Democrație și democratizări by Leonardo Morlino () [Corola-publishinghouse/Science/84945_a_85730]
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G. și P.G. Lewis, 1996, Stabilizing Fragile Democracies: Comparing New Party Systems in Southern and Eastern Europe, London - New York, Routledge. Pridham, G. și T. Vanhanen (eds.), 1994, Democratization in Eastern Europe: Domestic and Internațional Perspectives, London, Routledge. Przeworski, A., 1986, "Some Problems in the Study of the Transitions to Democracy", în G. O'Donnell, P.C. Schmitter și L. Whitehead (eds.), Transitions from Authoritarian Rule: Comparative Perpectives, Baltimore, Md., Johns Hopkins University Press. 2000, Democracy and Development. Political Institutions and Wellbeing in
Democrație și democratizări by Leonardo Morlino () [Corola-publishinghouse/Science/84945_a_85730]
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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 works that
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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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 give it a form, and consequently some order, inscribed with the artist's own freedom (Matter and Memory, 1896). The creative intention of the writer harmonizes the images, the ideas, the symbols and the meanings of the work în a unitary whole, and endows them with a
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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answer în the same way: intuition, that is, through instinct turned disinterested, yet conscious of itself. Through intuition, the writer places himself inside life, and comes to know the objects of his immediate perception în themselves, and not according to some anthropomorphized, convențional, vision. Metamorphosing continuously, it approaches the geometrical perfection of platonic polyhedra, i.e., supreme knowledge. The kind of comprehension that poetry proposes is "nupțial", that is, unifying, integrating. When the poet becomes conscious of the presence of the Absolute
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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remain prisoner 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
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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cosmic memory that actualizes all the levels Being at the same time, thus expressing the whole of creation, freeing the individual from the 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
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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adequate symbollical expression than facilitates its action. Nonetheless, for the Romanian poet, who aims at a poetry freed of the bonds of time and space, Edgar Poe's lyrical creations represent a hybrid, not true [pure] poetry. În his opinion, some of Poe's literary works show obvious shortcomings. Instead, he pleads for a poetry that should edify în the mirror of the creative spirit. Poetry, aș Ion Barbu understands it, must assume a sovereign, definite domain of reality, bound by
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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Poe: "Nothing like location was conceived aș their origin. Their source lies în the principle, Unity. This is their lost parent. This they seek always - immediately - în all directions - wherever it is even partially to be found; thus appeasing, în some measure, the ineradicable tendency, while on the way to its absolute satisfaction în the end" (p. 44). 28 Idem, p. 136: "While undergoing consolidation, the cluster themselves, with a speed prodigiously accumulative, have been rushing towards their own general center
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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a wild inconsistency between its still perfect adaptation of parts, and the crumbling condition of the individual stones. În this there was much that reminded me of the specious totality of old wood-work which hâș rotted for long years în some neglected vault, with no disturbance from the breath of the external air. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinising observer might have discovered a barely perceptible fissure
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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like reasoning, a power to be exerted according to the determination of the will. A mân cannot say, " I will compose poetry". The greatest poet even cannot say it; for the mind în creation is aș a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the color of a flower which fades and changes aș it is developed, and the conscious portions of our natures are unprophetic either of
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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45 Stéphane Mallarmé, "The Book: A Spiritual", în Selected Prose Poems, Essays & Letters, 1956, p. 25: "What, then, will the work itself be? I answer: a hymn, all harmony and joy; an immaculate grouping of universal relationships come together for some miraculous and glittering occasion. Man's to observe with the eyes of the divinity; for if his connection with that divinity is to be made clear, it can be expressed only by the pages of the open book în front
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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Critique of the Power of Judgment, [1790] 2000, pp. 186-197: "[...] genius 1) is a talent for producing that for which no determinate rule can be given, not a predisposition of skill for that which can be learned în accordance with some rule, consequently that originality must be its primary characteristic. 2) That since there can also be original nonsense, its products must at the same time be models, i.e., exemplary, hence, while not themselves the result of imitation, they must yet
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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mentioned the "veil of the 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
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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soul thus athirst strives to allay its fever în futile efforts at creation. Inspired with a prescient ecstasy of the beauty beyond the grave, it struggles by multiform novelty of combination among the things and thoughts of Time, to anticipate some portion of that loveliness whose very elements, perhaps, appertain solely to Eternity; and the result of such effort, on the part of souls fittingly constituted, is alone what mankind have agreed to denominate Poetry". 36 Edgar Allan Poe, Second Review
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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I presume, utterly impossible; yet a curiosity to penetrate the mysteries of these awful regions, predominates even over my despair, and will reconcile me to the most hideous aspect of death. It is evident that we are hurrying onwards to some exciting knowledge - some never-to-be-imparted secret, 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
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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impossible; yet a curiosity to penetrate the mysteries of these awful regions, predominates even over my despair, and will reconcile me to the most hideous aspect of death. It is evident that we are hurrying onwards to some exciting knowledge - some never-to-be-imparted secret, 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
Gândul din gând: Edgar Poe și Ion Barbu by Remus Bejan () [Corola-publishinghouse/Science/84958_a_85743]
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clients. Such situations could be contextualized or generalized, thus giving birth in time to climates or cultures of injustice. Few employees are radical and vocal when dealing with injustices, and the majority retreats in silence and lives with these injustices: some accept them as an organizational 'normality', and others fight them through resistance mechanisms that manifest themselves beneath the organizational radar. Keywords: Injustice, emotional labor, cultures and climates of silence, dramaturgic self. Domnul Slater și justiția organizațională De multă vreme, a
Justiție și coeziune socială () [Corola-publishinghouse/Science/84961_a_85746]
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vol. 54, nr. 2, 1973, pp. 403-411; Ted Robert Gurr, Why Men Rebel, Princeton University Press, Princeton, 1970, pp. 22-58. 27 Leon Festinger, "A Theory of Social Comparison Processes", în Human Relations, vol. VII, 1954, pp. 117-140. 28 Guillermina Jasso, "Some of Robert K. Merton's Contributions to Justice Theory", în Sociological Theory, vol. 18, nr. 2, 2000, p. 332. 29 Robert K. Merton, Social Theory ans Social Structure, The Free Press, New York, 1968, p. 289. 30 Vezi James A. Davis
Justiție și coeziune socială () [Corola-publishinghouse/Science/84961_a_85746]
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epitetului ornat, epigramei, simetriei si antitezei. 261 Pozițiile intelectuale posibile sânt reduse, în fiecare caz, la două sau trei, excluzându-se pozițiile pluraliste. Adesea cea de a treia poziție este o poziție de mijloc, de împăcare a ereziilor extreme menționate : Some foreign writers, some our own despise, The ancients only, or the moderns, prize. * * Zic unii / Că-i prost ce scriu străinii, iar alții, ce scrim noi, / Cei vechi doar, doar modernii au dat lucrări de soi. În perioada barocului, figurile
[Corola-publishinghouse/Science/85059_a_85846]
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simetriei si antitezei. 261 Pozițiile intelectuale posibile sânt reduse, în fiecare caz, la două sau trei, excluzându-se pozițiile pluraliste. Adesea cea de a treia poziție este o poziție de mijloc, de împăcare a ereziilor extreme menționate : Some foreign writers, some our own despise, The ancients only, or the moderns, prize. * * Zic unii / Că-i prost ce scriu străinii, iar alții, ce scrim noi, / Cei vechi doar, doar modernii au dat lucrări de soi. În perioada barocului, figurile de stil caracteristice
[Corola-publishinghouse/Science/85059_a_85846]