El objetivo del presente libro es otear significaciones inéditas de los clásicos
brillando en la... more El objetivo del presente libro es otear significaciones inéditas de los clásicos
brillando en las constelaciones del Romanticismo. En este capítulo, la estrella polar del
primer Romanticismo alemán, Johann Wolfgang Goethe, iluminará la vida propia de las
formas platónicas con los destellos de la idea de Urphänomen. Nosotros, por nuestra parte,
interrumpiremos este juego de luces y reflejos proyectados ad infinitum por el Clasicismo
(Platón) y el primer Romanticismo (Goethe), interponiendo entre ambos el pensamiento
inorgánico de Walter Benjamin, tras cuya estela criticaremos las falsas totalidades
confeccionadas según las formas platónicas y tejidas por los fenómenos puros goetheanos.
This book aims at glancing toward unprecedented meanings of the Classics
shining on Romantic constellations. In this chapter, Goethe’s idea of Urphänomen will light
up the life of the Platonic forms. We will interrupt the game of mirrors set between Plato and
Goethe by placing Benjamin’s inorganic thought in the middle of their infinite reflections, in
virtue of which we will criticize the Forms and the Pure Phenomena as false wholes.
La lectura reivindicativa de la literatura surrealista francesa suele postergarse de manera poco ... more La lectura reivindicativa de la literatura surrealista francesa suele postergarse de manera poco afortunada. Para situar el encuentro de Benjamin con el surrealismo, se reconstruye el zigzagueante camino que recorrió el pensador, cuando desplazó sus intereses desde la cultura alemana del Barroco y del Romanticismo hasta las vanguardias culturales europeas, pues el hecho de haber fracasado en su intento de lograr un puesto universitario le llevó a tener que ejercer el trabajo de periodista y crítico cultural.
Supo compartir y entrelazar entonces de manera sorprendente sus nuevos y diversos intereses, que eran sobre todo el comunismo, por una parte –inspirado por la lectura de Historia y conciencia de clase de Lukács–, y el surrealismo, por la otra –integrado por
las obras de los escritores y poetas franceses André Breton, Louis Aragon, Philippe
Soupault, Robert Desnos y Paul Éluard–. Varias son las líneas de fuerza que confluyen,
para Benjamin, en este movimiento de vanguardia, desde el intento de tematizar lo extraordinario y la fe en los sueños para liberar el inconsciente, hasta
la búsqueda de una economía psíquica integrada y no fragmentada, y el anhelo
de cambiar la vida. A su vez, el escritor berlinés encontró en este grupo una
defensa de la libertad y de la experiencia viva, del cuerpo y la iluminación profana
que venían a asumir y condensar lo que él mismo buscaba desde sus críticas
al concepto kantiano de «experiencia», el encuentro con la concepción diltheyana
de «vivencia», las reflexiones sobre el pasado y la historia primordial
de la humanidad, y sus epifanías y manifestaciones en los combates del presente.
Este ensayo acaba con un ejercicio de ironía y perspicacia, poniendo a prueba
lo aquí expuesto en el contexto vivo de nuestra actualidad, al aprovechar sugerencias
de Benjamin para comparar imágenes televisivas ausentes y de nuevo
presentes en la cadena intermitente de determinada comunidad autonómica de
nuestro país, y para comentar el tiovivo que sufre el cambio climático en las actitudes
y mensajes de nuestros políticos.
The castilian-aragonese epitome of Aristotle’s Nicomachean Ethics is preserved by the following x... more The castilian-aragonese epitome of Aristotle’s Nicomachean Ethics is preserved by the following xvth century manuscripts: Biblioteca Nacional 4514, Biblioteca Nacional 6710, Biblioteca Nacional 7076, Biblioteca Vaticana Ottoboniano Latino 2054, Arxiu de la Corona d’Aragó Ripoll 161, Monasterio del Escorial K.II.13, Cambridge University Library add. 8275, University of Oxford Bodleian Library Span.d.1 and Universidad Complutense Valdecilla 152. In addition to the xvth century testimonies, we must study the xviiith century manuscript Biblioteca Nacional 1204. This paper aims to explain the textual relations among the testimonies, by means of the analysis of the different kinds of errors.
We will present the relationship between the manuscript British Library, Harley 3305, owned by En... more We will present the relationship between the manuscript British Library, Harley 3305, owned by Enyego D’Àvalos, and the Spanish translation of Aristotle’s Nicomachean Ethics by Charles from Aragon, Prince of Viana, during his stay at the Neapolitan court of Alfons el Magnànim between 1457 and 1458. The study of the critical loci of Bruni’s nova translatio copied in the Harley manuscript 3305 will lead us to rule out the possibility that it is the Latin model of the version written by the Prince of Viana.
The same proemial structure articulates the introduction to the Convivio and to the Trattato di logica in volgare preserved in the manuscript 10124 of the Biblioteca Nacional, Madrid. The objective of this paper is to underline these structural similarities, such as the Aristotelian incipit (Met. i 1), the topic of wisdom as the realization of human nature, and the obstacles to the development of science. We will point out a particular concordance between the conclusions of the introduction of the Trattato di logica and the argument in Conv. I ix , 5-8, which links noble nature and excellent psychophysical complexion. Finally, we will provide, as an appendix, the transcription of the introduction to the Trattato di logica in volgare.
La amistad concierne a toda la sociedad medieval, tanto a los ámbitos de la nobleza como a los de la vida ordinaria. Reflexionar sobre la concepción medieval de la amistad, definida por su acepción social, requiere examinar la recepción del pensamiento ético-político aristotélico, en particular, de la idea de πολυφιλία, ya que es el vínculo que mantiene unidos a los miembros de una comunidad política. Para ello, aquí se presentarán las distintas posibilidades de traducir πολυφιλία en las traslaciones hispánicas de la Ética a Nicómaco en el siglo xv, a saber, en el Compendio, en la versión de Carlos de Viana y en el MSS/10268 de la Biblioteca Nacional de España.
The composition of the fifteenth-century epitome of Nicomachean Ethics has been illegitimately at... more The composition of the fifteenth-century epitome of Nicomachean Ethics has been illegitimately attributed to Alfonso de Cartagena and to Nuño de Guzmán. The attribution to the Bishop of Burgos is reflected in the incipit of the MSS/Cambridge University add. 8275, Madrid BNE 1204 and Vatican BAV ottob. lat. 2054; whereas the authorship of Nuño de Guzmán has been deduced from his introduction to the MSS/Oxford, Bodleian Library Span.d.1. In order to reject both attributions, we will analyze the introduction of the epitome and claim that its origin is Aragonese. Finally, in order to assess the quality of Guzman’s interventions, an inventory of the corrections and interpolations and a list of omissions will be provided.
MSS/ 10124 in the Biblioteca Nacional, Madrid, is a luxurious Italian manuscript that was housed ... more MSS/ 10124 in the Biblioteca Nacional, Madrid, is a luxurious Italian manuscript that was housed at the Marquis of Santillana's library in the fifteenth century and that preserves two older texts related to the Aristotelian tradition, namely, Alderotti's Etica in volgare, and an Italian compendium of logic. The paper will present the main features of this Compendio di Logica as a sample of fifteenth-century vernacular Humanism and as an evidence of the fact that Aristotelianism might have had a more important role in fifteenth-century thought than usually considered. One of the peculiarities of the Compendio is the replacement of induction by division as one of the three basic methods of knowledge acquisition, following in the footsteps of thirteenth-century Aristotelianism and being witness to the sway of Medieval philosophy in vernacular Humanism. How did an Italian manuscript come to be in fifteenth-century Castile? During the fifteenth century, classical translations were resumed due to the necessity to find new models of morality, and to revise the style and contents of Medieval versions, so that humanists could work on them and take advantage of them. MSS/ 10124 in the Biblioteca Nacional, Madrid, shows how humanists, in a broad sense, reshaped and translated old scholastic texts to adapt them to lay readers' necessities. The focus of the revival in the study of classical texts in the Quattrocento was Florence, Italy, where Castilian bibliophiles traveled to acquire new manuscripts to mitigate the shortage of classical texts in Castile. Some of these bibliophiles were sent to Florence by the Marquis of Santillana (1398–1458), the owner of the manuscript that we are now examining.
The aim of this paper is to draw attention to the historical and literary background from which
W... more The aim of this paper is to draw attention to the historical and literary background from which Walter Benjamin construed his concept of “aura”. Benjamin described “aura” as a “strange web of space and time”. This strange web deals with the spatial experience of being both distant and close, and also involves the temporal experience of being simultaneously too late and too early. Benjamin wrote that “aura” was “a distance as close as it can be”; by means of this distance, some objects, especially works of art, become valuable and, at the same time, out of reach and elusive. Benjamin related his concept of “aura” to the petit poème en prose « Perte d’auréole » written by Charles Baudelaire. In this poem, the French writer depicted the situation in which a crowd pushes a poet across the street and makes him lose his crown of bay leaves. That situation felt by Baudelaire, implied for Benjamin the decay of the poetic “aura”. This paper analyses the history of the bay leaves –laurus in Latin– as a symbol, from its rise with Ovid and Petrarca to its decay with Baudelaire and Benjamin. A crown woven with bay leaves had been the symbol of the poetic “aura”, since the myth of Apollo and Daphne. The analysis starts from Ovid’s version of this myth in his Metamorphoses, as the source that valued only those poetic objects which remained inaccessible, like Daphne pursued by Apollo. Daphne became a bay tree when touched by Apollo, that is, Daphne remained out of reach even when she was caught by Apollo. Francesco Petrarca reassumed the symbol of the poetic “aura”, when he was crowned with bay leaves in Rome in 1341. Six centuries later, Benjamin attacked the “aura” of works of art as a symbol of fascist aesthetics.
La coherència de l'aristotelisme marquià no ha estat encara ponderada en profunditat. Volem contr... more La coherència de l'aristotelisme marquià no ha estat encara ponderada en profunditat. Volem contribuir a la seua ponderació amb l'anàlisi d'un aspecte particular: l'ús marquià del terme «virtut» en contrast amb la definició aristotèlica. Donada la polisèmia del terme grec, la seua recepció pel cristianisme medieval i la seua utilització pel poeta valencià plantegen determinades dificultats que seran analitzades a partir de les fonts que podien circular per la Corona d'Aragó al segle XV. Abstract: The coherence of March's Aristotelianism has not yet been weighted up. We want to contribute to its weighting with the analysis of a particular aspect: the use of the term «virtue» in contrast to the Aristotelian definition. Given the polysemy of the Greek term, its medieval reception and its use by the Valencian poet pose certain difficulties that will be analyzed according to the sources that could circulate in the Crown of Aragon in the fifteenth century.
En el catálogo de la Biblioteca Nacional de España se informa de que el MSS/10124 contiene dos te... more En el catálogo de la Biblioteca Nacional de España se informa de que el MSS/10124 contiene dos textos aristotélicos, a saber, una Ética nicomaquea (ff. 1-30) y una Ética eudemia (ff. 33-56v). Se especifica, además, que la segunda obra es una versión del Libro II del Tesoro de Brunetto Latini. Sin embargo, estas atribuciones son problemáticas. El objetivo de estas líneas es corregir la información anterior, porque el primero de los textos contenidos en el MSS/10124 es un compendio de lógica y el segundo es la Etica in volgare, el volgarizzamento toscano de la Summa Alexandrinorum y de otras fuentes secundarias elaborado por Taddeo Alderotti.
The paralysis metaphor is crucial to the understanding of the second stanza of March’s poem 74. T... more The paralysis metaphor is crucial to the understanding of the second stanza of March’s poem 74. Two 13th century works, essential for the dissemination of Aristotle’s thought, namely, the Summa Alexandrinorum and Aquinas’s Sententia libri Ethicorum, use the metaphor to adress the same moral issue: the akrasia or weakness of the will. This paper will examine the relationship between poem 74 and those two Aristotelian works.
El objetivo del presente libro es otear significaciones inéditas de los clásicos
brillando en la... more El objetivo del presente libro es otear significaciones inéditas de los clásicos
brillando en las constelaciones del Romanticismo. En este capítulo, la estrella polar del
primer Romanticismo alemán, Johann Wolfgang Goethe, iluminará la vida propia de las
formas platónicas con los destellos de la idea de Urphänomen. Nosotros, por nuestra parte,
interrumpiremos este juego de luces y reflejos proyectados ad infinitum por el Clasicismo
(Platón) y el primer Romanticismo (Goethe), interponiendo entre ambos el pensamiento
inorgánico de Walter Benjamin, tras cuya estela criticaremos las falsas totalidades
confeccionadas según las formas platónicas y tejidas por los fenómenos puros goetheanos.
This book aims at glancing toward unprecedented meanings of the Classics
shining on Romantic constellations. In this chapter, Goethe’s idea of Urphänomen will light
up the life of the Platonic forms. We will interrupt the game of mirrors set between Plato and
Goethe by placing Benjamin’s inorganic thought in the middle of their infinite reflections, in
virtue of which we will criticize the Forms and the Pure Phenomena as false wholes.
La lectura reivindicativa de la literatura surrealista francesa suele postergarse de manera poco ... more La lectura reivindicativa de la literatura surrealista francesa suele postergarse de manera poco afortunada. Para situar el encuentro de Benjamin con el surrealismo, se reconstruye el zigzagueante camino que recorrió el pensador, cuando desplazó sus intereses desde la cultura alemana del Barroco y del Romanticismo hasta las vanguardias culturales europeas, pues el hecho de haber fracasado en su intento de lograr un puesto universitario le llevó a tener que ejercer el trabajo de periodista y crítico cultural.
Supo compartir y entrelazar entonces de manera sorprendente sus nuevos y diversos intereses, que eran sobre todo el comunismo, por una parte –inspirado por la lectura de Historia y conciencia de clase de Lukács–, y el surrealismo, por la otra –integrado por
las obras de los escritores y poetas franceses André Breton, Louis Aragon, Philippe
Soupault, Robert Desnos y Paul Éluard–. Varias son las líneas de fuerza que confluyen,
para Benjamin, en este movimiento de vanguardia, desde el intento de tematizar lo extraordinario y la fe en los sueños para liberar el inconsciente, hasta
la búsqueda de una economía psíquica integrada y no fragmentada, y el anhelo
de cambiar la vida. A su vez, el escritor berlinés encontró en este grupo una
defensa de la libertad y de la experiencia viva, del cuerpo y la iluminación profana
que venían a asumir y condensar lo que él mismo buscaba desde sus críticas
al concepto kantiano de «experiencia», el encuentro con la concepción diltheyana
de «vivencia», las reflexiones sobre el pasado y la historia primordial
de la humanidad, y sus epifanías y manifestaciones en los combates del presente.
Este ensayo acaba con un ejercicio de ironía y perspicacia, poniendo a prueba
lo aquí expuesto en el contexto vivo de nuestra actualidad, al aprovechar sugerencias
de Benjamin para comparar imágenes televisivas ausentes y de nuevo
presentes en la cadena intermitente de determinada comunidad autonómica de
nuestro país, y para comentar el tiovivo que sufre el cambio climático en las actitudes
y mensajes de nuestros políticos.
The castilian-aragonese epitome of Aristotle’s Nicomachean Ethics is preserved by the following x... more The castilian-aragonese epitome of Aristotle’s Nicomachean Ethics is preserved by the following xvth century manuscripts: Biblioteca Nacional 4514, Biblioteca Nacional 6710, Biblioteca Nacional 7076, Biblioteca Vaticana Ottoboniano Latino 2054, Arxiu de la Corona d’Aragó Ripoll 161, Monasterio del Escorial K.II.13, Cambridge University Library add. 8275, University of Oxford Bodleian Library Span.d.1 and Universidad Complutense Valdecilla 152. In addition to the xvth century testimonies, we must study the xviiith century manuscript Biblioteca Nacional 1204. This paper aims to explain the textual relations among the testimonies, by means of the analysis of the different kinds of errors.
We will present the relationship between the manuscript British Library, Harley 3305, owned by En... more We will present the relationship between the manuscript British Library, Harley 3305, owned by Enyego D’Àvalos, and the Spanish translation of Aristotle’s Nicomachean Ethics by Charles from Aragon, Prince of Viana, during his stay at the Neapolitan court of Alfons el Magnànim between 1457 and 1458. The study of the critical loci of Bruni’s nova translatio copied in the Harley manuscript 3305 will lead us to rule out the possibility that it is the Latin model of the version written by the Prince of Viana.
The same proemial structure articulates the introduction to the Convivio and to the Trattato di logica in volgare preserved in the manuscript 10124 of the Biblioteca Nacional, Madrid. The objective of this paper is to underline these structural similarities, such as the Aristotelian incipit (Met. i 1), the topic of wisdom as the realization of human nature, and the obstacles to the development of science. We will point out a particular concordance between the conclusions of the introduction of the Trattato di logica and the argument in Conv. I ix , 5-8, which links noble nature and excellent psychophysical complexion. Finally, we will provide, as an appendix, the transcription of the introduction to the Trattato di logica in volgare.
La amistad concierne a toda la sociedad medieval, tanto a los ámbitos de la nobleza como a los de la vida ordinaria. Reflexionar sobre la concepción medieval de la amistad, definida por su acepción social, requiere examinar la recepción del pensamiento ético-político aristotélico, en particular, de la idea de πολυφιλία, ya que es el vínculo que mantiene unidos a los miembros de una comunidad política. Para ello, aquí se presentarán las distintas posibilidades de traducir πολυφιλία en las traslaciones hispánicas de la Ética a Nicómaco en el siglo xv, a saber, en el Compendio, en la versión de Carlos de Viana y en el MSS/10268 de la Biblioteca Nacional de España.
The composition of the fifteenth-century epitome of Nicomachean Ethics has been illegitimately at... more The composition of the fifteenth-century epitome of Nicomachean Ethics has been illegitimately attributed to Alfonso de Cartagena and to Nuño de Guzmán. The attribution to the Bishop of Burgos is reflected in the incipit of the MSS/Cambridge University add. 8275, Madrid BNE 1204 and Vatican BAV ottob. lat. 2054; whereas the authorship of Nuño de Guzmán has been deduced from his introduction to the MSS/Oxford, Bodleian Library Span.d.1. In order to reject both attributions, we will analyze the introduction of the epitome and claim that its origin is Aragonese. Finally, in order to assess the quality of Guzman’s interventions, an inventory of the corrections and interpolations and a list of omissions will be provided.
MSS/ 10124 in the Biblioteca Nacional, Madrid, is a luxurious Italian manuscript that was housed ... more MSS/ 10124 in the Biblioteca Nacional, Madrid, is a luxurious Italian manuscript that was housed at the Marquis of Santillana's library in the fifteenth century and that preserves two older texts related to the Aristotelian tradition, namely, Alderotti's Etica in volgare, and an Italian compendium of logic. The paper will present the main features of this Compendio di Logica as a sample of fifteenth-century vernacular Humanism and as an evidence of the fact that Aristotelianism might have had a more important role in fifteenth-century thought than usually considered. One of the peculiarities of the Compendio is the replacement of induction by division as one of the three basic methods of knowledge acquisition, following in the footsteps of thirteenth-century Aristotelianism and being witness to the sway of Medieval philosophy in vernacular Humanism. How did an Italian manuscript come to be in fifteenth-century Castile? During the fifteenth century, classical translations were resumed due to the necessity to find new models of morality, and to revise the style and contents of Medieval versions, so that humanists could work on them and take advantage of them. MSS/ 10124 in the Biblioteca Nacional, Madrid, shows how humanists, in a broad sense, reshaped and translated old scholastic texts to adapt them to lay readers' necessities. The focus of the revival in the study of classical texts in the Quattrocento was Florence, Italy, where Castilian bibliophiles traveled to acquire new manuscripts to mitigate the shortage of classical texts in Castile. Some of these bibliophiles were sent to Florence by the Marquis of Santillana (1398–1458), the owner of the manuscript that we are now examining.
The aim of this paper is to draw attention to the historical and literary background from which
W... more The aim of this paper is to draw attention to the historical and literary background from which Walter Benjamin construed his concept of “aura”. Benjamin described “aura” as a “strange web of space and time”. This strange web deals with the spatial experience of being both distant and close, and also involves the temporal experience of being simultaneously too late and too early. Benjamin wrote that “aura” was “a distance as close as it can be”; by means of this distance, some objects, especially works of art, become valuable and, at the same time, out of reach and elusive. Benjamin related his concept of “aura” to the petit poème en prose « Perte d’auréole » written by Charles Baudelaire. In this poem, the French writer depicted the situation in which a crowd pushes a poet across the street and makes him lose his crown of bay leaves. That situation felt by Baudelaire, implied for Benjamin the decay of the poetic “aura”. This paper analyses the history of the bay leaves –laurus in Latin– as a symbol, from its rise with Ovid and Petrarca to its decay with Baudelaire and Benjamin. A crown woven with bay leaves had been the symbol of the poetic “aura”, since the myth of Apollo and Daphne. The analysis starts from Ovid’s version of this myth in his Metamorphoses, as the source that valued only those poetic objects which remained inaccessible, like Daphne pursued by Apollo. Daphne became a bay tree when touched by Apollo, that is, Daphne remained out of reach even when she was caught by Apollo. Francesco Petrarca reassumed the symbol of the poetic “aura”, when he was crowned with bay leaves in Rome in 1341. Six centuries later, Benjamin attacked the “aura” of works of art as a symbol of fascist aesthetics.
La coherència de l'aristotelisme marquià no ha estat encara ponderada en profunditat. Volem contr... more La coherència de l'aristotelisme marquià no ha estat encara ponderada en profunditat. Volem contribuir a la seua ponderació amb l'anàlisi d'un aspecte particular: l'ús marquià del terme «virtut» en contrast amb la definició aristotèlica. Donada la polisèmia del terme grec, la seua recepció pel cristianisme medieval i la seua utilització pel poeta valencià plantegen determinades dificultats que seran analitzades a partir de les fonts que podien circular per la Corona d'Aragó al segle XV. Abstract: The coherence of March's Aristotelianism has not yet been weighted up. We want to contribute to its weighting with the analysis of a particular aspect: the use of the term «virtue» in contrast to the Aristotelian definition. Given the polysemy of the Greek term, its medieval reception and its use by the Valencian poet pose certain difficulties that will be analyzed according to the sources that could circulate in the Crown of Aragon in the fifteenth century.
En el catálogo de la Biblioteca Nacional de España se informa de que el MSS/10124 contiene dos te... more En el catálogo de la Biblioteca Nacional de España se informa de que el MSS/10124 contiene dos textos aristotélicos, a saber, una Ética nicomaquea (ff. 1-30) y una Ética eudemia (ff. 33-56v). Se especifica, además, que la segunda obra es una versión del Libro II del Tesoro de Brunetto Latini. Sin embargo, estas atribuciones son problemáticas. El objetivo de estas líneas es corregir la información anterior, porque el primero de los textos contenidos en el MSS/10124 es un compendio de lógica y el segundo es la Etica in volgare, el volgarizzamento toscano de la Summa Alexandrinorum y de otras fuentes secundarias elaborado por Taddeo Alderotti.
The paralysis metaphor is crucial to the understanding of the second stanza of March’s poem 74. T... more The paralysis metaphor is crucial to the understanding of the second stanza of March’s poem 74. Two 13th century works, essential for the dissemination of Aristotle’s thought, namely, the Summa Alexandrinorum and Aquinas’s Sententia libri Ethicorum, use the metaphor to adress the same moral issue: the akrasia or weakness of the will. This paper will examine the relationship between poem 74 and those two Aristotelian works.
The paper analyses the relation between a fragment in the sixth section of The Unbearable Lightne... more The paper analyses the relation between a fragment in the sixth section of The Unbearable Lightness of Being and its two sources, namely, Eriugena’s Peri physeon and Augustine’s De civitate Dei. The three texts bear a relation of co-presence, called “allusion” by Genette. The paper argues that Kundera’s fragment is not fully understandable without the comprehension of its sources. The conceptual problem developed is the connection between body and soul in three different ages: the dawn of Christianity, Carolingian Renaissance and the Prague Spring of 1968.
Romance Philology, 70, Fall, 2106. The traditional account of the Hispanic diffusion of 15th cent... more Romance Philology, 70, Fall, 2106. The traditional account of the Hispanic diffusion of 15th century translations of classical texts entailed a conception of manuscript transmission from East to West, from the Crown of Aragon, specifically Catalonia and Valencia, to the Crown of Castile. This traditional perspective needs to be analyzed in every particular case. The aim of this paper is to contribute to that analysis with the explanation of the textual relations among 15th century Catalan and Castilian epitomes of Aristotle’s Nicomachean Ethics. By means of the analysis of conjunctive and separative errors, we can draw the conclusion that the Catalan text depends on an as-yet unknown Aragonese version.
The first section will provide a general background of the main features of the commentaries
on ... more The first section will provide a general background of the main features of the commentaries
on Aristotle’s Nicomachean Ethics. The
second section will untertake an analysis of a fragment of one of these epitomes, namely, the Compendi
de l’Ètica nicomaquea, written in Catalan around 1463-4 and preserved by the manuscript 296 of the
Biblioteca de Catalunya. The analysed fragment is in the fifth chapter of Nicomachean Ethics (1137a-b),
in which the virtue of equity is explained. This fragment displays an example of a rhetorical device: the
amplificatio. The aim of the last section will be the study of the genealogy of this amplificatio, in which
Valencian walls offer an anachronistic location where the application of equity is set.
Ponència a la JORNADA SOBRE LA PRESÈNCIA DELS CLÀSSICS EN LA ROMÀNIA DURANT L'EDAT MITJANA, UNIVE... more Ponència a la JORNADA SOBRE LA PRESÈNCIA DELS CLÀSSICS EN LA ROMÀNIA DURANT L'EDAT MITJANA, UNIVERSITAT DE VALÈNCIA, 17 de NOVEMBRE
A compendium of logic in the Marquis of Santillana's library: Aristotelian sources in Madrid, BNE... more A compendium of logic in the Marquis of Santillana's library: Aristotelian sources in Madrid, BNE, MSS/ 10124.
Phenomenology, not only as a philosophical approach but as a research tool, can be applied to the... more Phenomenology, not only as a philosophical approach but as a research tool, can be applied to the development of literary concepts. The concept of aura depicts the paradoxical experience of being both distant and close as a vivid effect of the classic conception of desire as an external télos. The conference will reconstruct the phenomenological development of the idea in its concrete raise with Petrarch's interpretation of Ovid, its decay with Baudelaire's poetry, and its abstract conceptualization with Benjamin's concept of aura.
Benjamin no entendía la ‘cultura’ como un reino independiente o autónomo de valores, sino como el... more Benjamin no entendía la ‘cultura’ como un reino independiente o autónomo de valores, sino como elementos del desarrollo de la naturaleza humana (Georg Simmel: Filosofía del Dinero)
Benjamin entendía que la cultura como una reificación de valores autónomos era, además, fetichista, es decir, una divinización de un artefacto humano cuyo origen se esconde, al dotarlo de autonomía respecto al artífice.
Consecuentemente, criticaba que la historia cultural nunca había hecho justicia al aspecto negativo o bárbaro de la cultura. Es más, casi no podía esperar que la reparación de las injusticias del pasado fuera posible. La única esperanza provendría de una historia cultural dialéctica (pero no-hegeliana, no-vonrankeana).
La única esperanza provendría de una concepción mesiánica de la revolución como una ‘interrupción’ de la historia o como una detención de acontecimientos: “el objetivo final del progreso histórico no es una sociedad sin clases, sino su interrupción”
The presentation will show the evolution from simple kinds of characters, namely those of the Tem... more The presentation will show the evolution from simple kinds of characters, namely those of the Temperamentenlehre, to the complexity of the destructive character, which depicts Gustav Glück's existence as a financial director. The presentation will analyse first "Schicksal und Character" and then "Der destruktive Character".
Se realizará una genealogía de los conceptos de "voluntad" y "voluntario" desde la traducción de Carlos de Aragón, a través de la lengua latina, hasta llegar a su significado en el griego de Aristóteles para poder esclarecer el error categorial de considerar que lo voluntario es aquello que emana de la voluntad.
PRESENTACIÓ DEL PREMI EUROPEU D'ASSAIG WALTER BENJAMIN CONVERSA AMB EL PREMIAT MARC BERDET
PORTBO... more PRESENTACIÓ DEL PREMI EUROPEU D'ASSAIG WALTER BENJAMIN CONVERSA AMB EL PREMIAT MARC BERDET PORTBOU 20.10.19
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brillando en las constelaciones del Romanticismo. En este capítulo, la estrella polar del
primer Romanticismo alemán, Johann Wolfgang Goethe, iluminará la vida propia de las
formas platónicas con los destellos de la idea de Urphänomen. Nosotros, por nuestra parte,
interrumpiremos este juego de luces y reflejos proyectados ad infinitum por el Clasicismo
(Platón) y el primer Romanticismo (Goethe), interponiendo entre ambos el pensamiento
inorgánico de Walter Benjamin, tras cuya estela criticaremos las falsas totalidades
confeccionadas según las formas platónicas y tejidas por los fenómenos puros goetheanos.
This book aims at glancing toward unprecedented meanings of the Classics
shining on Romantic constellations. In this chapter, Goethe’s idea of Urphänomen will light
up the life of the Platonic forms. We will interrupt the game of mirrors set between Plato and
Goethe by placing Benjamin’s inorganic thought in the middle of their infinite reflections, in
virtue of which we will criticize the Forms and the Pure Phenomena as false wholes.
Supo compartir y entrelazar entonces de manera sorprendente sus nuevos y diversos intereses, que eran sobre todo el comunismo, por una parte –inspirado por la lectura de Historia y conciencia de clase de Lukács–, y el surrealismo, por la otra –integrado por
las obras de los escritores y poetas franceses André Breton, Louis Aragon, Philippe
Soupault, Robert Desnos y Paul Éluard–. Varias son las líneas de fuerza que confluyen,
para Benjamin, en este movimiento de vanguardia, desde el intento de tematizar lo extraordinario y la fe en los sueños para liberar el inconsciente, hasta
la búsqueda de una economía psíquica integrada y no fragmentada, y el anhelo
de cambiar la vida. A su vez, el escritor berlinés encontró en este grupo una
defensa de la libertad y de la experiencia viva, del cuerpo y la iluminación profana
que venían a asumir y condensar lo que él mismo buscaba desde sus críticas
al concepto kantiano de «experiencia», el encuentro con la concepción diltheyana
de «vivencia», las reflexiones sobre el pasado y la historia primordial
de la humanidad, y sus epifanías y manifestaciones en los combates del presente.
Este ensayo acaba con un ejercicio de ironía y perspicacia, poniendo a prueba
lo aquí expuesto en el contexto vivo de nuestra actualidad, al aprovechar sugerencias
de Benjamin para comparar imágenes televisivas ausentes y de nuevo
presentes en la cadena intermitente de determinada comunidad autonómica de
nuestro país, y para comentar el tiovivo que sufre el cambio climático en las actitudes
y mensajes de nuestros políticos.
The same proemial structure articulates the introduction to the Convivio and to the Trattato di logica in volgare preserved in the manuscript 10124 of the Biblioteca Nacional, Madrid. The objective of this paper is to underline these structural similarities, such as the Aristotelian incipit (Met. i 1), the topic of wisdom as the realization of human nature, and the obstacles to the development of science. We will point out a particular concordance between the conclusions of the introduction of the Trattato di logica and the argument in Conv. I ix , 5-8, which links noble nature and excellent psychophysical complexion. Finally, we will provide, as an appendix, the transcription of the introduction to the Trattato di logica in volgare.
La amistad concierne a toda la sociedad medieval, tanto a los ámbitos de la nobleza como a los de la vida ordinaria. Reflexionar sobre la concepción medieval de la amistad, definida por su acepción social, requiere examinar la recepción del pensamiento ético-político aristotélico, en particular, de la idea de πολυφιλία, ya que es el vínculo que mantiene unidos a los miembros de una comunidad política. Para ello, aquí se presentarán las distintas posibilidades de traducir πολυφιλία en las traslaciones hispánicas de la Ética a Nicómaco en el siglo xv, a saber, en el Compendio, en la versión de Carlos de Viana y en el MSS/10268 de la Biblioteca Nacional de España.
Walter Benjamin construed his concept of “aura”. Benjamin described “aura” as a “strange web of space
and time”. This strange web deals with the spatial experience of being both distant and close, and also
involves the temporal experience of being simultaneously too late and too early. Benjamin wrote that
“aura” was “a distance as close as it can be”; by means of this distance, some objects, especially works of
art, become valuable and, at the same time, out of reach and elusive. Benjamin related his concept of
“aura” to the petit poème en prose « Perte d’auréole » written by Charles Baudelaire. In this poem, the
French writer depicted the situation in which a crowd pushes a poet across the street and makes him lose
his crown of bay leaves. That situation felt by Baudelaire, implied for Benjamin the decay of the poetic
“aura”. This paper analyses the history of the bay leaves –laurus in Latin– as a symbol, from its rise with
Ovid and Petrarca to its decay with Baudelaire and Benjamin. A crown woven with bay leaves had been
the symbol of the poetic “aura”, since the myth of Apollo and Daphne. The analysis starts from Ovid’s version
of this myth in his Metamorphoses, as the source that valued only those poetic objects which remained
inaccessible, like Daphne pursued by Apollo. Daphne became a bay tree when touched by Apollo,
that is, Daphne remained out of reach even when she was caught by Apollo. Francesco Petrarca reassumed
the symbol of the poetic “aura”, when he was crowned with bay leaves in Rome in 1341. Six centuries
later, Benjamin attacked the “aura” of works of art as a symbol of fascist aesthetics.
brillando en las constelaciones del Romanticismo. En este capítulo, la estrella polar del
primer Romanticismo alemán, Johann Wolfgang Goethe, iluminará la vida propia de las
formas platónicas con los destellos de la idea de Urphänomen. Nosotros, por nuestra parte,
interrumpiremos este juego de luces y reflejos proyectados ad infinitum por el Clasicismo
(Platón) y el primer Romanticismo (Goethe), interponiendo entre ambos el pensamiento
inorgánico de Walter Benjamin, tras cuya estela criticaremos las falsas totalidades
confeccionadas según las formas platónicas y tejidas por los fenómenos puros goetheanos.
This book aims at glancing toward unprecedented meanings of the Classics
shining on Romantic constellations. In this chapter, Goethe’s idea of Urphänomen will light
up the life of the Platonic forms. We will interrupt the game of mirrors set between Plato and
Goethe by placing Benjamin’s inorganic thought in the middle of their infinite reflections, in
virtue of which we will criticize the Forms and the Pure Phenomena as false wholes.
Supo compartir y entrelazar entonces de manera sorprendente sus nuevos y diversos intereses, que eran sobre todo el comunismo, por una parte –inspirado por la lectura de Historia y conciencia de clase de Lukács–, y el surrealismo, por la otra –integrado por
las obras de los escritores y poetas franceses André Breton, Louis Aragon, Philippe
Soupault, Robert Desnos y Paul Éluard–. Varias son las líneas de fuerza que confluyen,
para Benjamin, en este movimiento de vanguardia, desde el intento de tematizar lo extraordinario y la fe en los sueños para liberar el inconsciente, hasta
la búsqueda de una economía psíquica integrada y no fragmentada, y el anhelo
de cambiar la vida. A su vez, el escritor berlinés encontró en este grupo una
defensa de la libertad y de la experiencia viva, del cuerpo y la iluminación profana
que venían a asumir y condensar lo que él mismo buscaba desde sus críticas
al concepto kantiano de «experiencia», el encuentro con la concepción diltheyana
de «vivencia», las reflexiones sobre el pasado y la historia primordial
de la humanidad, y sus epifanías y manifestaciones en los combates del presente.
Este ensayo acaba con un ejercicio de ironía y perspicacia, poniendo a prueba
lo aquí expuesto en el contexto vivo de nuestra actualidad, al aprovechar sugerencias
de Benjamin para comparar imágenes televisivas ausentes y de nuevo
presentes en la cadena intermitente de determinada comunidad autonómica de
nuestro país, y para comentar el tiovivo que sufre el cambio climático en las actitudes
y mensajes de nuestros políticos.
The same proemial structure articulates the introduction to the Convivio and to the Trattato di logica in volgare preserved in the manuscript 10124 of the Biblioteca Nacional, Madrid. The objective of this paper is to underline these structural similarities, such as the Aristotelian incipit (Met. i 1), the topic of wisdom as the realization of human nature, and the obstacles to the development of science. We will point out a particular concordance between the conclusions of the introduction of the Trattato di logica and the argument in Conv. I ix , 5-8, which links noble nature and excellent psychophysical complexion. Finally, we will provide, as an appendix, the transcription of the introduction to the Trattato di logica in volgare.
La amistad concierne a toda la sociedad medieval, tanto a los ámbitos de la nobleza como a los de la vida ordinaria. Reflexionar sobre la concepción medieval de la amistad, definida por su acepción social, requiere examinar la recepción del pensamiento ético-político aristotélico, en particular, de la idea de πολυφιλία, ya que es el vínculo que mantiene unidos a los miembros de una comunidad política. Para ello, aquí se presentarán las distintas posibilidades de traducir πολυφιλία en las traslaciones hispánicas de la Ética a Nicómaco en el siglo xv, a saber, en el Compendio, en la versión de Carlos de Viana y en el MSS/10268 de la Biblioteca Nacional de España.
Walter Benjamin construed his concept of “aura”. Benjamin described “aura” as a “strange web of space
and time”. This strange web deals with the spatial experience of being both distant and close, and also
involves the temporal experience of being simultaneously too late and too early. Benjamin wrote that
“aura” was “a distance as close as it can be”; by means of this distance, some objects, especially works of
art, become valuable and, at the same time, out of reach and elusive. Benjamin related his concept of
“aura” to the petit poème en prose « Perte d’auréole » written by Charles Baudelaire. In this poem, the
French writer depicted the situation in which a crowd pushes a poet across the street and makes him lose
his crown of bay leaves. That situation felt by Baudelaire, implied for Benjamin the decay of the poetic
“aura”. This paper analyses the history of the bay leaves –laurus in Latin– as a symbol, from its rise with
Ovid and Petrarca to its decay with Baudelaire and Benjamin. A crown woven with bay leaves had been
the symbol of the poetic “aura”, since the myth of Apollo and Daphne. The analysis starts from Ovid’s version
of this myth in his Metamorphoses, as the source that valued only those poetic objects which remained
inaccessible, like Daphne pursued by Apollo. Daphne became a bay tree when touched by Apollo,
that is, Daphne remained out of reach even when she was caught by Apollo. Francesco Petrarca reassumed
the symbol of the poetic “aura”, when he was crowned with bay leaves in Rome in 1341. Six centuries
later, Benjamin attacked the “aura” of works of art as a symbol of fascist aesthetics.
on Aristotle’s Nicomachean Ethics. The
second section will untertake an analysis of a fragment of one of these epitomes, namely, the Compendi
de l’Ètica nicomaquea, written in Catalan around 1463-4 and preserved by the manuscript 296 of the
Biblioteca de Catalunya. The analysed fragment is in the fifth chapter of Nicomachean Ethics (1137a-b),
in which the virtue of equity is explained. This fragment displays an example of a rhetorical device: the
amplificatio. The aim of the last section will be the study of the genealogy of this amplificatio, in which
Valencian walls offer an anachronistic location where the application of equity is set.
Benjamin entendía que la cultura como una reificación de valores autónomos era, además, fetichista, es decir, una divinización de un artefacto humano cuyo origen se esconde, al dotarlo de autonomía respecto al artífice.
Consecuentemente, criticaba que la historia cultural nunca había hecho justicia al aspecto negativo o bárbaro de la cultura. Es más, casi no podía esperar que la reparación de las injusticias del pasado fuera posible. La única esperanza provendría de una historia cultural dialéctica (pero no-hegeliana, no-vonrankeana).
La única esperanza provendría de una concepción mesiánica de la revolución como una ‘interrupción’ de la historia o como una detención de acontecimientos: “el objetivo final del progreso histórico no es una sociedad sin clases, sino su interrupción”
https://urldefense.com/v3/__https://qmul-ac-uk.zoom.us/j/89033407886__;!!D9dNQwwGXtA!WZpxZAOUFYogvjEj4gkZ8x-TQ6pRtZtKrQbVZ8GwOUcIOhJsumfI7p-e3bFHW7OGk6MP6u1a30RiSgnbQYKLMeo$
Meeting ID: 890 3340 7886
16:00 hora española
Se realizará una genealogía de los conceptos de "voluntad" y "voluntario" desde la traducción de Carlos de Aragón, a través de la lengua latina, hasta llegar a su significado en el griego de Aristóteles para poder esclarecer el error categorial de considerar que lo voluntario es aquello que emana de la voluntad.
PORTBOU 20.10.19