Therefore by realizing itself, the time in which the future takes primacy engenders history
present-future-past.
in summary, for Hegel, the "dialectical process" or the "concept" of reality is man in the present, focused on future action, determined by his experience of past events. Thus the formula is:
“Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. People don't become inured to what they are shown ... because of the quantity of images dumped on them. It is passivity that dulls feeling.”
“Os personagens de Hamsun vêm do mundo primitivo dos fjords:
homens que se tornam andarilhos por nostalgia. E os de Walser? Talvez das montanhas de Glarner? Dos pardos de Appenzel, onde nasceu? Não. Eles vêm da noite, quando ela está mais escura, uma noite veneziana, se quiser, iluminada pelos precários lampiões da esperança, com um certo brilho festivo no olhar, mas confusos e tristes a ponto de chorar. Seu choro é prosa. O soluço é a melancolia das tagarelices de Walser. O soluço nos mostra de onde vêm os seus amores. Eles vêm da loucura, e de nenhum outro lugar. São personagens que têm a loucura atrás de si, e por isso sobrevivem numa superficialidade tão despedaçadora, tão desumana, tão imperturbável.”
“Robert Walser”, ensaio sobre Robert Walser escrito por Walter Benjamin. In: Obras Escolhidas I - Magia e técnica, arte e política.
“Robert Walser”, ensaio sobre Robert Walser escrito por Walter Benjamin. In: Obras Escolhidas I - Magia e técnica, arte e política.
Derrida on Hegel, could be on Joyce
Hegel's Encyclopedia or Hegel's Logic, it is an attempt to read the absolute knowledge through a single act of memory; this being possible only by loading every sentence, every word with a maximum of equivocalities, of possibilities, of virtual associations, that is, by making this organic linguistic totality as rich as possible.
Love is evil -- Zizek
More generally, when one is passionately in love and, after not seeing the beloved for a long time, asks him for a photo to keep in mind his features, the true aim of this request is not to check if the properties of the beloved still fits the criteria of my live, but, on the contrary, to learn (again) what these criteria are. I am in love absolutely, and the photo a priori CANNOT be a disappointment – I need it just so that it will tell me WHAT I love… What this means is that true love is performative in the sense that it CHANGES its object – not in the sense of idealization, but in the sense of opening up a gap in it, a gap between the object’s positive properties and the amagalma, the mysterious core of the beloved (which is why I do not love you because of your properties which are worthy of love: on the contrary, it is only because of my love for you that your features appear to me as worthy of love). It is for this reason that finding oneself in the position of the beloved is so violent, traumatic even: being loved makes me feel directly the gap between what I am as a determinate being and the unfathomable X in me which causes love. Everyone knows Lacan’s definition of love (“Love is giving something one doesn’t have…”); what one often forgets is to add the other half which completes the sentence: “… to someone who doesn’t want it.” And is this not confirmed by our most elementary experience when somebody unexpectedly declared passionate love to us – is not the first reaction, preceding the possible positive reply, that something obscene, intrusive, is being forced upon us?
Bidu
Assinar:
Comentários (Atom)
