The aim of this article is to explore the concept of “courtliness” in Castiglione and Gracián. The hero of Gracián learns the art of the “courtliness” from Castiglione, but he is not a “courtier”. Gracián uses the word “courtier” in a much broader sense. The courtliness in Castiglione is a sort of meta-discipline that contains in itself all the arts and is founded on the universal rule of «grace». The article shows how the theory of the grace of Castiglione, through (...) which the count would have been able to reconcile two requirements, achieved success in Court and a life governed by the sign of elegance, loses its intensity in Gracián, who insists more on the strategic behavior, based more on prudence and discretion than on grace. The courtesan philosophy of Gracián is understood as a discourse on the life. If we understand the court as the enclosed space in which the courtier of Castiglione lives, it is not a philosophy of court but a philosophy of human life. Gracián court is the square in the world. (shrink)

En el presente ensayo se abordan algunos problemas lingüísticos a los que tuvo que enfrentarse Zubiri durante la redacción de Inteligencia sentiente. Con este fin, se reconstruye la compleja historia de las tres palabras que componen la trilogía zubiriana: inteligencia, logos y razón. La inteligencia humana es sentiente. El logos y la razón son modalidades de la inteligencia. El entendimiento es el modo supremo de la intelección racional. Estos temas básicos son estudiados desde una perspectiva histórica, que permite conocer mejor (...) el significado de las palabras utilizadas por Zubiri en su última gran obra noológica. (shrink)