In a world full of suffering, the only thing that remains is music. Due to the present situation of the music in our lives and problems of the research in the field of philosophy of the music, it becomes a special priority for us to try to investigate the new sense of the contemporary music. The nature, the sensitive part of our feelings and the perceptions, have made possible the fact that music can be lived. For a deeply examination of the philosophy of Havasi’s symphonies, we should ask ourselves if the essence of the sound becomes a part of our ʽlived worldʼ and if establishes Heidegger’s ʻworldliness of the world’.
Meanwhile, it is an important priority for a philosopher to show how the tradition can be break, even in a phenomenological field of study. Culture helps us to understand the spiritual functions of the music in our lives. We will try to demonstrate in this article why the music of Havasi Balázs is a philosophy of the lived “given facts” and a direct “experience” for the world. He establishes a different classical-contemporary aesthetic in music and opens a field of research between the aesthetic category of the classic and lived perception. At last, but not least, Havasi remains the most romantic pianist from our times. Due to him, we can return sometimes to innocence and connect ourselves with the inner-lived world through sounds.
Noticing the steep degradation of love in the modern society, Evola makes an effort to overpass the social, commercial or biological conceptions of love and to unravel the forgotten ideas about love. Looking at the current modern situation, few people could imagine love as transcendent, as a force capable of overpassing the limitations of a human being. As emphasized by Evola, the union between the two lovers, when it is conceived as the unification of the opposite tendencies in a sacred union, can find the lost path towards the Unity. By detachment and transmutation, the use of the sexual energy may even lead to supra-natural powers, ecstasies and elevated consciousness.
Although enjoying a history that spans more than 160 years, Romanian student media have not been researched extensively at all. The few existing studies combine a monographic approach to the phenomenon with various oral histories, as one particular way to reconstruct a past that has been frequently neglected. The present paper is an attempt to analyse student media outlets by showcasing its identification either as a pedagogical tool or as a form of alternative press, with a particular emphasis on the current Romanian student media outlets. In order to fulfil our two-folded objective (to extract both quantitative and qualitative data), we used qualitative survey research. The main results reveal that print projects (a total of 15) are still the most numerous among student media outlets, followed by six online journalistic projects, five radio stations and four TV stations. Generally, these serve as pedagogical tools due to the co-optation in the editorial teams of professors who act as supervisors and mentors. In comparison to the student reviews from the communist period or previous, the (self-) identification with alternative media is, with few notable exceptions, rather weak.
Early knowledge of medieval literature, not only in Latin, it transfers you into a heaven of peace. No wonder that out of such springs came out the whole methodology of the famous lectio divina (see Mario Masini) from which we still feed a large part of modern communication methods. Scala divini amoris is such a challenge for the modern reader. Preserved in a manuscript Egerton 945 in the British Library in London, the text is written in Occitan, unknown both to researchers in theology and to scholars from those specializing in Provencal. The manuscript Egerton 945 contains two major texts: Liber divinis amoris și De divina impletione.
This study engages into a wider reflection about Paul Ricoeur. Undoubtedly, he is a remarkable personality of thought and spiritual life, being known as the “philosopher of obedience”. On the one hand, the novelty of his thinking lies in the narrative identity, in the dissociation between the same and the ipseity, diachronic and synchronic, between the socius and the neighbor. On the other hand, he reveals us a „modus vivendi”, between the rational-philosophical rigor and the Protestant religious beliefs, with regard to the depths of the confrontation between desire and choice, between understanding and explaining, between universal and singular. Nevertheless, his panoramic view of life departs from the complexity of life, from existentialism, as a radical opposition between the being itself and the being for itself or the self. As a conclusion, throughtout Paul Ricoeur’s domains-philosophy and religion-physical and psychological integrity implies by analogy a moral integrity.
The aim of this study is to analyze the structure of the Zamolxian myth and the implications that follow from the perspective of historian and philosopher Vasile Pârvan. Zamolxe, the god and the King of the Geto-Dacians, are in the center of his doctrine the thesis that man is a whole of two essential elements: sphere and soul. As Socrates also points out in the Charmide Dialogue, the great importance is the state in which the soul is found, which prevails in front of the body. Moreover, the state of the soul undoubtedly determines the state of the body after. The soul in relation to the body of the flesh, prone to suicide, is the very essence of the essence, because “everyone here starts from the soul.” The asprime of life does not prevent the Getae from believing in immortal eternity, in another world encountering Zalmoxe. For Eliade, Zamolxis is a “daimon or a theos,” which reveals a doctrine that “depends on the ontological regime of post mortem existence.” Zamolxis is not from the beginning a supernatural being, he appears in a “religious history of eschatological type “, the coordinates of which are occult and epiphany. In the center of this doctrine is placed the idea of the immortality of the soul.
The present study resonates with the primacy of the exemplary model of the inaugural lessons in the program/curriculum of critical school achievements, in the spirit of Alexandru Zub question about what the inaugural lessons should say? The answer calls for a return to the Xenopol model, but also for the reopening of the Kogălniceanu’s methodological laboratory, stating the need for any course to be inaugurated through a broad exposure of the field, by drawing attention to the theoretical and methodological horizon, by enumerating the boundaries and limitations of research; but also, by gaining the interest of the audience. Pârvanian historiosophy is decisive in the flow of the so-called method, attaching the teacher’s vocation to the prerogative of the philosopher, and relying on two conjugated attitudes: the first „evolutionary synthesizer of thought”, the second „cosmic valoriser of the world and of life.” Thus, we will insist on the ideo-historical ribbons/nervures of the four inaugural lessons of Vasile Pârvan, presenting them with the decisive remarks about the rethinking of philosophy and history. This approach is circumscribed to the atmosphere of the Centenary of the Romanian Great Union as a means of returning to exemplary models to counter the dysfunctions of functional illiteracy, the confusing and synchronous perspective of teaching history in school, and the program to eliminate the historical dimension of the culture study - exhibited at the anniversary moment of the Romanian culture by Academician Ioan-Aurel Pop.