Peter Sloterdijk, În aceeasi barca, Eseu despre hiperpolitica (traducere de Ovidiu Tichindeleanu si Konrad Petrovsyky) Idea, Cluj, 2002 Dispretuirea maselor, Eseu asupra luptelor culturale în societatea moderna (traducere de Aurel Codoban), Idea, Cluj, 2002.
The aim of this study is to determine the historical and cultural context of the pseudoepigraphic Carmen de resurrectione. The Carmen treats poetically many subjects of Christian eschatology: the second coming of Christ, the final judgement, heaven and hell, the universal conflagration. The author believes that the end time is imminent. This perception is common to all the Christians who experienced tribulations: persecutions, natural calamities, barbarian invasions. These painful events urged the Christians to undertake a path of true conversion, in (...) the religious and moral sense. Unlike other poets, the Anonymous author emphasises the virtuous value of the hope of divine reward rather than the fear of divine punishment. The same perspective can be found in the poets and in the monks of early fifth-century Gaul, who suffered the barbarian invasion of 406. (shrink)
Taking its cue from François Bernier’s Voyages and focusing on the assumptions that stand in the background of Immanuel Kant’s view of the encounter between Christianity and Hinduism, this text endeavors to bring to light the theoretical framework that shaped the dialogue between the West and the East since the 18th century. The author’s contention is that the way that Western philosophy has tended to conceive of universal values has been one of the fundamental obstacles that has hindered a genuine (...) cross-cultural conversation in this sense. (shrink)
We asked a series of questions to Monica Cioli and David Rifkind, authors of two important books which focus on the process that enabled art and architecture to acquire a specific political meaning under fascism. The outcome is a dialogue that shows how the relationship between fascism and art is not characterized by a mere appropriation or a mutually functional exploitation between the artist or the architect and the fascist regime. Art prepares a specific appropriation of technology and serves to (...) introduce the political anthropology of the fascist man. Similarly, architecture establishes an organization of urban spaces coherent and necessary to the hierarchical order of the corporatist society. (shrink)
The author intends to look at Romanian cultural transition as an ongoing process which since 1989 has known an accelerated pace according to the fall of communism and the real perspectives of integration in the European Union. Seen within the cultural constraints of globalization, the impact of social and cultural change in Romanian society affected considerably the cultural behavior of the individual as well as the setting of new institutions, their functioning and implicitly the rhythm of democratization. Remarking on modernization (...) in Eastern Europe, the author consid- ers that unless civil society asserts its presence, reconstructing the Romanian public sphere, transition may be a reversible process. (shrink)