The article conveys the portrait of a man for whom understanding was a matter of the highest spiritual intimacy, a man who continuously disregarded his possible engagement in the public life as a philosopher, finally a man whom we find, in the twilight of his life, concerned with the intricate tension between the “muteness” of philosophy (as being able “only” to double life by means of rational discourse) and religion. Alexandru Dragomir’s portrait is portrayed in comparison to another important Romanian (...) philosopher, Constantin Noica. The comparison is not accidental, since they both come to represent two paradigmatic ways of making philosophy: traditional ontology (centered around Descartes – Kant – Hegel) vs. modern phenomenology (centered around Husserl – Heidegger). (shrink)

The article conveys the portrait of a man for whom understanding was a matter of the highest spiritual intimacy, a man who continuously disregarded his possible engagement in the public life as a philosopher, finally a man whom we find, in the twilight of his life, concerned with the intricate tension between the “muteness” of philosophy (as being able “only” to double life by means of rational discourse) and religion. Alexandru Dragomir’s portrait is portrayed in comparison to another important Romanian (...) philosopher, Constantin Noica. The comparison is not accidental, since they both come to represent two paradigmatic ways of making philosophy: traditional ontology (centered around Descartes – Kant – Hegel) vs. modern phenomenology (centered around Husserl – Heidegger). (shrink)

The article conveys the portrait of a man for whom understanding was a matter of the highest spiritual intimacy, a man who continuously disregarded his possible engagement in the public life as a philosopher, finally a man whom we find, in the twilight of his life, concerned with the intricate tension between the “muteness” of philosophy (as being able “only” to double life by means of rational discourse) and religion. Alexandru Dragomir’s portrait is portrayed in comparison to another important Romanian (...) philosopher, Constantin Noica. The comparison is not accidental, since they both come to represent two paradigmatic ways of making philosophy: traditional ontology (centered around Descartes – Kant – Hegel) vs. modern phenomenology (centered around Husserl – Heidegger). (shrink)

The article conveys the portrait of a man for whom understanding was a matter of the highest spiritual intimacy, a man who continuously disregarded his possible engagement in the public life as a philosopher, finally a man whom we find, in the twilight of his life, concerned with the intricate tension between the “muteness” of philosophy (as being able “only” to double life by means of rational discourse) and religion. Alexandru Dragomir’s portrait is portrayed in comparison to another important Romanian (...) philosopher, Constantin Noica. The comparison is not accidental, since they both come to represent two paradigmatic ways of making philosophy: traditional ontology (centered around Descartes – Kant – Hegel) vs. modern phenomenology (centered around Husserl – Heidegger). (shrink)

The article conveys the portrait of a man for whom understanding was a matter of the highest spiritual intimacy, a man who continuously disregarded his possible engagement in the public life as a philosopher, finally a man whom we find, in the twilight of his life, concerned with the intricate tension between the “muteness” of philosophy (as being able “only” to double life by means of rational discourse) and religion. Alexandru Dragomir’s portrait is portrayed in comparison to another important Romanian (...) philosopher, Constantin Noica. The comparison is not accidental, since they both come to represent two paradigmatic ways of making philosophy: traditional ontology (centered around Descartes – Kant – Hegel) vs. modern phenomenology (centered around Husserl – Heidegger). (shrink)