Sunday, May 30, 2010

Yamaha Phazer Carb Adjustment

memento

"My sister! Have you ever heard the dead speak from the grave?

I am dead! Your poor Mary died. Me from lying on the coffin, covered me from the mortuary cloth, recited the requiem, bells rang ... It seems to me that something I funereal weight on the soul, and my limbs Let them be inert. Between me and the world, nature, life, something is heavier than a headstone, more of a silent grave.

It 'a show that terrifies! The death in the bloom of life, between the tumult of the passions, the body that sees death the soul, the material that survives the spirit!

dreamy as I open my eyes, I push the look into the immensity, in the darkness, the silence, that stillness inert ... Everything is an immeasurable distance. I see you like in a dream beyond the boundaries of reality ... Are you that you're gone in a vacuum, or am I that I am lost in anything? "


[Verga, Story of a blackcap ]


... not to lose these lines In my opinion, very beautiful.

Tuesday, May 25, 2010

Purpose Of Educational Perennialism

Report I. Crippa: self-fulfillment between illusion and reason

published the report of I. Crippa , analyzing texts from Zibaldone , Discourse on the present state of 'habits of the Italians and Operettas moral in relation to a moral and political problem that was both in totccato seminrario both in the conference-debate with the prof. M. Hibiscus .
link (pdf file, 2.82 MB, external site, new window)

Friday, May 21, 2010

Brace To Relieve Tmj?

Publication of reports open

We remind those who had not done the absolute opportunity to transmit its report to the editors written by today's date.

Tuesday, May 18, 2010

I Had My Gallbladder Rem

Blog: Decision

Given the significant number of contacts, even for the most part not attributable to the credited authors or members, has finally decided to keep the blog open to all readers. Comments will be possible either as anonymous or with your account, and are subject to moderation.
The evolution of the blog at the end of the workshop but has yet to be discussed, but the web space will not be erased or removed.

Sunday, May 16, 2010

What Size Sailboat Can One Person Sail

M. Martone staged operettas moral

from 3 to 15 May 2011 M. Martone proposes a stage version of the Operettas moral Teatro Argentina in Rome.
Obviously if others closer to oversee the theater put on the bill, or a great excuse to still go to Rome ... for now it seems that the show will be set up also to Stabile di Torino March 17, 2011 to coincide with the celebrations for the 150th anniversary of the unification of Italy. It seems very fitting that the anti-Italian par excellence is summoned to the celebration of the idea of \u200b\u200bhome to do.

Saturday, May 15, 2010

Boric Acid Powder For Smelly Feet

G. Milella Gonzalez: the voice of the characters Leopardi Operetta

G. Milella Gonzalez has prepared a report on the relationship between some characters of moral Operettas and the voice of their own and specific Leopardi. Reworking the analysis in the initial sessions of the nature of the figurative system of the characters, Milella focuses in particular on the figures of Amelio, Ottonieri and ELEANDER .
> link (pdf file, external site, new window; www.agenziaimpronta.net thank you for hosting the remote file)

Does Damiana Have Thc

Report M. Tussi: rice in Operettas, in Luciano and Gogol

M. Tussi submit a report on the role of rice in some Operettas in Dialogues of the Dead Lucian and Gogol, with particular reference to the inspector general . The author focuses on the presence of a comforting and soothing function and a critical function and social attributable both to the rice and about their relationship.
For those who did not have available the text of the Dialogues of the Dead of Luciano , remember that it is available on Wikisource .
> link (pdf file, external site, new window; www.agenziaimpronta.net thank you for hosting the remote file)

How Much Are Struts For Honda Civic

Publication of written reports: Warning to all participants in the seminar

We are continuing to publish the reports received so far. Remember to have set a deadline of May 21 for submission to the editors of the work still not delivered.
reports are located under the label " exercises students." At all events, contact
blog administrators at the addresses known.

Leg Pain From Driving A Small Car

Nature and body from Kant to Husserl via Leopardi: report of C. Spenuso

C. Spenuso presents a comprehensive report on Leopardi's conception of nature and the body from a comparison with contemporary social theory and later, touching Kant, Goethe , Husserl and Schopenhauer. Particularly striking in the strategy of the combination of Goethe and Husserl.
> link (pdf file, external site, new window; www.agenziaimpronta.net thank you for hosting the remote file).

Rainbow Carpet Cleaners In Columbus, Ohio

G. Lidissini: the concept of nature between German Romanticism and Leopardi

... we can not know, the world ...
Nothing at all ...
Where to grab, or infinite nature?

( Goethe, "Faust")

"The concept of nature is certainly one of the major themes of Romanticism, especially the German one. For the love and fascination for it are one of the most characteristic data of the period, which has its roots in the cultural climate of the Sturm-und-Drang philosophically and is nourished by the rediscovery of the thought of Spinoza .
Exactly the name of Spinoza lies behind this movement of ideas during the eighteenth century many of his texts exerted a hidden influence on German culture, without ever this line of thought could have come out. "
Read the rest of the report G. Lidissini ...
Spinoza's name was linked atheism and so "Spinoza" was synonymous with "atheist." Then in 1785, Jacobi, one of the intellectual universe of the Enlightenment culture that link the hospitality, public "letters on Spinoza's doctrine" is a text that had a great success and opened intensive discussions on Spinozism become decisive for the first generation of young romantics. To understand the significance of this debate, it must be remembered that the scientific view of nature was not satisfactory for the romantics who saw the blind necessity of the course of the world a very strong sign of the split between man and nature, between freedom and morality to which they aspire natural necessity that the mechanism of die Enlightenment, and ultimately Cartesian, had made it famous. In contrast to Spinoza, the romantic view of nature can find a very different, and especially a deep connection between man and the world in opposition to the mechanism plate, unable to give an account of the human spirit.
is not immune from this atmosphere of "neo-Spinoza" ramanticheggiante turn of the century even the great German poet Goethe (1749-1832) which reads as follows:

" Nature! We are surrounded and captivated by it, without being able to go out and by it without being able to get into it more deeply. Uninvited and not warned, it takes us in a matter of its dance and draws us into the vortex, until, exhausted, we fall into his arms. It creates ever new forces: that which time had not yet, what had not come back, everything is new, and yet it is always old. We live in the middle of it, and we are strangers. She speaks constantly with us, and there it reveals the secret. We work constantly on it but we have not no power on it. It seems that all nature has directed towards the individual, but does not know what to do with individuals. Incomparable artist, with no appearance of past efforts by the greatest works to more accurate minutiae. E 'whole and yet always unfinished. He does not know the past and future, the present is its eternity. "

The interpretation of Spinoza on the romantic is not very respectful to the truth of the authentic thought of the Dutch philosopher. This form of Spinoza is in effect something original, a creation of their own end of the eighteenth century. The Romantics stressed the unity between the principle absolute in the world (what Spinoza calls "substance" or "nature" or "God") and the reality of bodies and thoughts, according to Spinoza's famous formula: "the order and connection of ideas is the same as the order and connection of things. " They then built the famous form of one-all, "en kai pan", which is a symbol of German Romanticism. Here's how he expressed himself in this respect the poet Hölderlin (1770-1843) in a well-known passage of the 'hyperons "

" O holy nature! I do not know what happens to me when I raise my eyes to your beauty, but all the joy of heaven is in tears that I cry in front of you, like the lover in the presence of his beloved. My whole being silenced and there is a tendency, when the gentle breath of air play on my chest. Lost into the boundless, I often vulgar my gaze upward to the light and down in the holy water and it's like a kindred spirit I opened my arms, as if to dissolve the pain of loneliness in the life of the gods. Be one with the whole, this is the life of the gods, this is heaven man. Be one with everything that has life, to return, in blissful self-forgetfulness, in the whole of nature, this is the summit of the thoughts and joys, the sacred peak of the mountain, the place of everlasting peace, where the noon loses its heat and thunder his voice, where the sea is boiling all'ondeggiare resembles a field of thorns. "

This formula of one-everything you interpret human life in the cosmic key, as a manifestation of the living force of nature, the only vital energy which is expressed both in the field as the scourge of the spirit. It allows also to interpret nature as an organic reality and not just mechanical, not living without any form of spirituality.
This theory will not become organic body of philosophical theory developed until later, with the idealists. Al principle it is primarily a way to live the relationship with nature in a deep, intimate, very close to the sensitivity of Sturmer. A Goethe goes the rest of the first definition of these ideas through an interpretation of the key organic nature and key in the pantheistic deity. This concept is very close to a mystical form of pantheism, a kind of nature mysticism: the life of man is the very life of nature, is an expression of the same strength at all. God is therefore not an individual separate from the world of personal power, eternal Creator Spirit, but one with the life of the world. For this reason a man can find the relationship with the gods so living in the depths of his being, to be seized by an act of immediate mystical insight, as in the secret forces of nature and active, to be seized through a philosophy of nature that is capable of enhancing the organic aspects.

not surprising that in this field of research addressing the romantic naturalism of the Renaissance, the cult of its own magic of the sixteenth century Italian and European, that is, those phases of scientific research that immediately precede the Cartesian revolution and Galileo. The "return to nature" envisioned by Rousseau is so intense as a return to the deep origin of life, the God that is within us and that is everything.

In particular poets Holderlin in particular, help to enhance this position, this sort of pantheistic naturalism and mysticism. The nature more generally represents the background onto which the religious quest of the romantic, staying in more strictly poetic, the return to nature and the naturalistic pantheism are expressed in a mythical golden age to which to refer and to whom to return. Schiller (1759-1805) spoke of his return to the harmony of the ancients who, with their naive Dichtung "lived in harmony with the natural point of identifying poetry with nature. And 'that comes from here that the German Romantics define the "sentimentalische Dichtun" sentimental poetry or a poem that tries to remember the nature and lust for short absolute return.

The modern science had led to a despiritualizzazione of the cosmos and it is reacting to this mechanistic view that the Romantics believed that nature and man had a



same spiritual structure, which authorizes a psychological interpretation of physical phenomena and a physical interpretation of psychic phenomena.
If it is placed in drive the close relationship of man and nature, it shows that what is true for humans should also apply to the nature and vice versa. The man was seen as the living epitome of everything he sleeps the entire history of the world, this idea was, for example, Novalis (1772-1801):


" What is the nature if the index is not encyclopedic or systematic plan of our spirit? "


E 'for this reason that many romantics believe that knowing is equivalent to descend into ourselves to find the key that explains all phenomena; Schiller expressed thus:


" Everything in me is only the hieroglyph of a force that is akin to me. The laws of nature are the signs that the thinking being encrypted combined to make in order to understand the thinking being. If you want to be convinced, looking back. "

It is quite clear as to end the romance represents a decisive shift in perspective in relation to the Enlightenment tradition: disappointed by the" objective character "of scientists, which explained the world as a set of factual reports linked by efficient causes, there is a new way of thinking about nature. If we reconnect for a moment at a school of thought vitality and dynamism, such as Leibniz or Kant himself, and resume watching the other ancient and Renaissance of nature, they reach the romantic image of nature based on various factors:





  1. The Orgnic-nature is an organized whole in which they live only on the basis of the Whole





  2. vitalism-nature is a living dynamic force and animated





  3. the final-nature is a structured according to specific purposes or immanent transcendent





  4. Spiritualism-nature is something that is a spirit in spiritual intrinsacamente become





  5. struttara The dialectical nature-organized second pairs of opposing forces, consisting of a positive and negative dynamics and constituent units.

to what was previously said that it yields the same conception of reason as it changed the spirit of man was entirely interpreted as a manifestation of the cosmic force of life. The faculty of reason which Kant identifies as responsible human impulse, to go more sensitive limits of knowledge, is praised for its antiintellettualistici aspects: while the intellect stops at the visible surface phenomena, the reason he looks for the essence, it postulates the freedom of nature ; life behind the seemingly mechanical phenomena of inert matter. The reason is the power unit deep, where the intellect is the faculty of distinguishing surface.
At the Romantics, then, the conception of reason is far away from the Cartesian view. From this point of view it is absolutely impossible to argue that the romance, philosophy, enhance the feeling against Enlightenment rationality. The knowledge of nature that leads to the mystical Spinozism is in fact a product of sentiment, but of rationality: the only reason that should not be opposed to sentiment, but must be seen in its deep unity with it.
Nature must be "felt" intuitively with an act of "rational intuition".
Let us now consider the thought leopards. It may insert it as a vision of enlightenment and romanticism, between emotional and rational view towards the world and especially nature. His thinking is not an organic and systematic development, it is not formed in a pure and abstract mental sphere, but lives in relationship with the sentiment, then, on the one hand, the findings are a confirmation of the receipt of logical, rational validation of insights and emotional movements, on the other these same rational conclusions provoking deep emotional resonance. Ultimately
thought Leopardi remains excluded from the pure science of time, intrinsic to philosophy, but is always connected to the concrete and real human situations and historical.
This relationship between philosophy, emotion and culture justifies the personal way in which Leopardi interprets the philosophical tendencies of the eighteenth century. The central problem is that of happiness. The natural tendency of man. What is?
1. Adjustment of reality to the wishes, aspirations, in the real-ideal synthesis.
2. In no time limit.
Experience shows the opposite: reality does not match the aspirations ever, all things have an existence limited. Leopardi does this fact not only on the basis of his own personal experience, but on what has been defined (Timperley) 'disappointment in history: the collapse of the myth of reason, confident optimism of the Enlightenment.
The reason was to destroy forever the barbarism, superstition, to establish equality and democracy, return to a fair and healthy balance with nature, but the reason has failed: it produced the revolution has turned into the Napoleonic despotism and in the Restoration.
The reason he received only one purpose: it has unmasked the true face of reality. So the first answer to the problem of happiness is the recognition of a incomponibile antithesis between opposites:
size \u0026lt;-----> smallness
\u0026lt;-----> reason
anxiety illusions of infinity \u0026lt;- ----> limits of the real man
\u0026lt;----->
Nature Nature gives good illusions, which are the only happiness possible. So there is an age of mankind, an age of the individual, not without some form of happiness, because without illusions. Then he shows the real reason. This represents the so-called "historical pessimism", which is not, strictly speaking, pessimism, because it has not yet made absolute and set into the system and recognizes some value to the illusion of happiness.
These conclusions were two possible outcomes:
1) To oppose faith to reason in a mythical realm of the spirit, in God's reality and cause and end of life.
2) Move to the bottom of the rational analysis of the relationship between man and nature, in terms totally demystified. In Leopardi is too developed the rationale for resorting to escape religious and too rooted trends skeptical, atheist, materialist and enlightenment of his time. The disenchantment of reason against the Leopards can not find Recanati to the "remedy" the new romantic vision. Are then added to the frail health, which had to make him feel keenly the condition of nature over man.
His analysis, therefore, continues in strictly rational terms to provide definitive conclusions negative:
1) Nature has given men a happiness objectively, but only a veiled happiness. Not pitiful mother, but evil stepmother, because he has provided the tool that removes the veil of happiness and that is the reason, nature is indifferent to the fate of man that the universe is a perpetual cycle of destruction of matter, which are not know the cause and effect.
2) Nothing is absolutely necessary, nothing is, really. The principle of things is nothing (negative theology). Discovering the existence of absolute negativity following the finding that happiness does not exist, it is not. Is identified with the non-reality of illusion and therefore is only the future, as a dream or hope, or just past, as a reminder of the old illusions. The only reality is the non-happiness, pain, evil or terrible physical sensation of nothingness universal (boredom). This new view of the relationship between man and nature follow a new, inverted, assessment of the reason may no longer limiting, negative, but rather the only value and the only force which man can lean on to be truly himself off from fear and compromise.
The man must accept with manly firmness and consistency with all the painful consequences of a philosophy, but true. Religion does not produce a negative shock or denial, but rebellion, which calls all people to rally against the blind cruelty of nature in a new fraternity. This message is the content of Broom.
Last song of the "Songs" composed in 1836 and published posthumously, is proposed as a place where Leopardi concentrates the essence of his reflection on the meaning of life and substance delivery to readers in the final conclusions arrived at. Starting from the vision of the desolate landscape of Vesuvius, once beautiful and flourishing, demonstrating the destructive power of nature, the poet returns to denounce the spiritualistic and religious conceptions that locate the man at the center of creation.
From this premise flows a utopian appeal to the solidarity of men in a struggle against nature disperara "stepmother", for a coexistence based on the feeling of brotherhood that comes from awareness of our fragility. Implicitly suggests the sense of smell and slow broom as a symbol of heroic tenacity of life in the desert. The man, therefore, must be able to respond to the diversity of existence as the broom, which bends but is able to react and grow.
A stanza
intensely rich (like the first) alternate verses controversy (like the second) and verses of very large cosmic meditation (as the fourth). The contemptuous words against his time found in "La Ginestra" is not the expression of a reactionary spirit, but the expression of a soul who had already in itself an early maturity, sold out and condemned the principles on which supported the European bourgeoisie, a more advanced division of human relations, not once a ruthless war of the liberal initiatives of the trade, but the fraternal confederation of men against the common enemy. Therefore not a reactionary position, but again, as in any other poem, the mercy of men, the consciousness of a social duty, a message will, of evangelization. The man is a random and without purpose in the immensity of universal life, which is subjected to the destructive whims of nature, which may not be invoked more than his pride lunatic nonsense. However, being aware of the truth, then of his existential condition is, according to Leopardi, the only dignity, the only note of credit granted to man. The poem is therefore focused on the fragility of man and the evil power of nature, against which the human being can do nothing. Foolish man in the eyes of Leopardi, who has so much pride in their findings and their achievements, while not realize how insignificant. Weak, fragile, passenger, man was therefore only one true wealth: his dignity, and it is this which must defend at all costs, because it is the only thing that really sets it apart from the animal, lived and died without knowing anything himself. And 'this awareness and pessimistic at the same time recognizing the man who makes the poet the only true representative of this conception of reality. And 'yes true that his influence will be very present in the years following his death, but all these will be unmatched compared to the size of the cosmological and anthropological thought leopards. You can complete his design considering his person: a man of culture and indoctrinated by those last two Enlightenment, can not deal with the schism between man and nature that is revealed at the end of the same movement. It can be considered a post-Enlightenment that has very clear limits and possibilities of the human race, which limits him to a negative view of the nature and possibilities that allow gender to be able to raise again. His individualism is nothing but a consequence of the distance of his thought than its present situation and Italic little intellectually ready and away from the fervor of Europe. In fact it can be read and interpreted as a close proximity to humans it raises the solution of the conflict in the genre. It then puts the trust in the man who must overcome the contradictions in himself and in fact, continuing on his way with the self-conscious union with the kind to live in a dignified way. Leopardi is also the first modern thinker to declare the death as intimate presence in our lives, the first to make it acceptable as inevitable, the first to create a total vision of human life and not superficial.

Christian Baby Shower Cake Wording

P. Biocchi: Leopardi current

Dialogue With reference to a physical and a metaphysical , P. Biocchi presents a reflection on current Leopardi in relation to bioethical issues and the merits of increased life at any cost.


I followed the philosophical laboratory, initially with some anxiety. After graduation, in letters, in fact, of the Moral Operettas, I had a pleasant memory, but generic. As for the hooks and philosophical, being only the second review of Philosophy, I did not feel competent. L 'obligation to "report" and the issues dealt with at the laboratory, they made me take the texts read, studied, and underlined, I realize I never forgot. So re-reading the notes made from the high school on, I tell you, or are not never grew up, because I still find myself with what I had mentioned, or was, even then, too pessimistic, or 's yet another confirmation that, Leopardi, in his brilliance, humor, wisdom, sadness ... , Is always present!
Covering the Short Moral, I focused on the "Dialogue of a physical and a metaphysical".
With this dialogue, we are in what is considered the second group of Operettas, where that is, before we talk about human nature and where it is considered that happiness is only aspiration. The dialogue was composed of 14 to 19 May 1824, but starting earlier, can be found in a note Zibaldone of 1820, in which Leopardi, mentions to the lesson dell'Hufeland (German physician who lived between 1762 and 1863) on 'art of prolonging life. The writer declares that before thinking about the prolongation of life, should have been taught to make her happy. So the Leopards distanced from macrobiotic advocated by the doctor.
The poet, in essence, both in the dialogue of a physical and a metaphysical, as in step Zibaldone, the art of living long, opposed to the difficult art of living happily, looking for a life worthy of 'living .
The dialogue of a physical and a metaphysical, is a dialogue in which there are stereotypes of real people, not from the world of myth, the nature or the popular imagination.
the physical, who discovered the 'art of living long, the metaphysical answer, that being the unhappy life, for' man would be better to have it short rather than long.
The strength of the argument is contained in the metaphysical notion that if life had loved for itself, does not justify suicide.
With Chiron, teacher of Achilles', enter the myth and metaphysical points out that the rider got bored of immortality and preferred to die, therefore invites us to think:
"If immortality sorry about the gods (think) that would make men"!
To do justice to his argument, the metaphysical, then, have recourse to the wisdom of the ancients, as expressed in the form of myth and people who receive offers as good, death instead of life,
The gap between the two characters is always greater in the finale, when the metaphysical says he prefers only the good days, that nature gives to 'man (though few) while the body wants to add more days, also unfortunate, because what matters is to live longer.
Here are two perspectives, as claimed M. Hibiscus , inconsistent with each other, because of the qualitative and quantitative than the physical metaphysical.
The dialogue ends with the words of the metaphysical el 'warning that arises is that life must be alive, that is real life, an intense, if not death exceeds the value. The men, however, confuse one thing with the 'other, and they believe that those who live long and happy, while happiness is independent of dalnumero days lived.
Vivo in 2010 and sometimes we discuss some ... Macrobiotic horrible ... From the dialogue in question, was that a long life, it makes sense if proportionate to the quality, it makes no sense when scientific advantage and becomes a depressing reality for those who live and who is involved.
Once again, therefore, emerges the 'News of Leopardi, who with wisdom, sensitivity and intelligence touched timeless themes (death, joy, pain, futility, sadness, human conceit ...) even in anticipation of today's issues Biological and ethics.
With these lines, in thanking the good work and interesting laboratory because I had together at Leopardi, I wanted to emphasize the relevance the themes of the poet. I differ from those, however, using the progress of science, would judge the man, with eyes too modern, having lost its brilliance and its uniqueness.

Thank You For Donating Images

S. Kerfa: Following the Dialogue of Nature and Soul

Here's how S. Kerfa opens his report:
"I propose a follow-up to Dialogue of nature and soul .
Nature has gone hand in hand with destiny.
The soul is left alone and a new entry on salt scene, tries to convince her to exist as we do.
This third voice is an echo of souls who were able, like Leopardi, put into full, beautiful and terrifying light the indiscretion of man.
Pet, ant, crazy, wise, suicide, man overcomes his excellent side dish for different paradigms and build a single purpose: to bow out if it embraced a . "

[...]
Soul. And in exchange for immortality, I pray thee to hasten death as you can.
Nature. Cotesta Of confer with destiny.


Tips from the underground.

" 'Go, my darling daughter, that you will be required and call for an extended order of centuries.
Live, and be very unhappy. " 1


Here's the first thing that tells you that Nature, Soul newborn.
she is not shaped to have you in this way, no order, either by you as unknowable place, will give you justify how you are.
you opt to describe you, poor soul!
More than power, feel your own power: do not remove him from your individuality, so little would get better.
Your excellence would come out muffled and with it your unhappiness, but at what price?
never skips your conscience? Is there a 'soul that never skips his own conscience?
wait to answer! I know what you mean.
Yet you're just born, what do you know of so many souls who have renounced their conscience?
soon gave up, too, are the statistics to say, the data have to say, is the century in which time you happen to be born to shout about from the rooftops.
Little soul, listen:





" Lords, of course, I joke, and I know I joke that badly, but one can not take it all in jest. Perhaps, joke teeth. Gentlemen, torment me problems; risolvetemeli. You, for instance, a man you want disavvezzare old habits and you want to correct his will, according to the needs of science and common sense. But how do you know that man not only can but must also turn it so? From what you conclude that the human will so 'indispensably necessary correct? So, how do you know that such a correction will bring genuine benefit man? And to say it all, why are you so sure convinced not to go into account the real and normal benefits guaranteed by the arguments provided by reason and dall'aritmetica is actually more beneficial to man and is a law for the whole 'humanity? Why this is not for the time that your assumption. We have to be a law of logic, but perhaps not at all a law of humanity. Maybe you think, gentlemen, I'm crazy? Allow me to explain. Agreed: the man is an animal for construction excellence, condemned to strive towards the goal and to consciously practice the art of engineering, namely to draw unceasingly and eternally a road, although that is where direct . But the urge at times to sneak out the side, perhaps precisely because it forced to open this road, and maybe more, because, as stupid is generally a man of action and immediate, however, comes to mind that sometimes the road is almost always directed where it is , and that the main thing is not where it goes, but it has a direction, and that the boy sober, neglecting the art of engineering not succumb to a fatal idleness, which, as is known, is the father of all vices. He loves to build road and track, is indisputable. But why he loves to love the destruction and chaos? Tell me a bit '! But this also I want to say two words separately.
Could it be that he loves so much destruction and chaos (because it is undisputed that at times he loves, that's it), because he instinctively fears and reach the goal of completing the building under construction? What do you know? Perhaps the building loves him from afar, and not at all closely, perhaps only loves building it, and do not live in it, reserving then aux animaux domestiques , like ants, sheep, etc.. etc.. Here, the ants have a completely different taste. They have one great unalterable building of the same gender for ever: the anthill.
From respectable ant ants have begun, and undoubtedly will end up with the anthill, which does much credit to their perseverance and their positive nature. But the man is a being of light and ungrateful appearance and, perhaps, as the chess player, not like that in the process by which it reaches the end, not the end itself. And who knows (we can not guarantee it), perhaps the goal toward which all humanity on earth is contained only in this one continuous process of achieving, or, to put it another way, in life itself, and not in the end, that will not be if not two for two four, that is a formula, but, moreover, the two for two four is not life, gentlemen, but the principle of death. At least the man has always had a certain fear of this two for two four, I fear even now. Let's admit that man does nothing but try these two for two four, crossed oceans, sacrifices his life in this quest, but to discover, to actually find it, I swear to you that has the fear. In fact, he feels that as soon as it has found, there will be nothing left to try. The workers finished the job, at least get their money, go to the tavern, and then end up at the police, well, occupations that are sufficient for a week. But man, where are you? At the very least, every time we see him in something awkward in the time it reaches cosiffatti purposes. Achieving the like, but not quite reached them, and this, of course, is extraordinarily ridiculous. In short, man is designed in such a funny way, in everything, of course, there's a pun. But the two for two four is still something arcinsopportabile. The four two by two, in my opinion, is not that nerve. The two by two to four of the arias, you cross the street with hands on hips and spits, I also agree that the two two-four is an excellent thing, but if you really have to praise everything, including the two by two to five times is a pretty little thing.
And because you are so firmly, so solemnly assured that only what is normal is positive, in a word, only the prosperity is beneficial to man? The reason is not deceived in the benefits? It may be that the man does not love alone prosperity. It may be that you love so much does suffering. It may be that their suffering is exactly as good as the prosperity. And sometimes the man loves the suffering immensely, to the passion, this is a fact. Here then there is not even refer to the story; ask yourself if you are a man and a little or so you have lived. As for my personal opinion, love, prosperity is only even, in some way improper. Good or bad it is, but sometimes also to break something is very enjoyable. I, moreover, are not especially partisan here for the suffering, and even prosperity. .. I am partisan in my fancy that I have guaranteed them when necessary. Suffering, for example, in vaudeville is not allowed, I know. In a crystal palace would even unthinkable suffering is doubt, negation, and that Crystal Palace would be if one could doubt? Yet I am sure that the authentic human suffering, that suffering and chaos, never give up. The pain ... but it is the sole cause of consciousness. I, though I have said in principle that consciousness, in my opinion, is the supreme disgrace to the man, I know that man loves her and does not change with no satisfaction. Consciousness, for example, is infinitely higher than two by two. After the two by two, of course, nothing is left not only to do, but even to know. Everything is possible, then, is this: plug your five senses and plunge into contemplation. Well, instead of with a clear conscience, even if the result is to be the same, that there will be nothing left to do the same, at least sometimes you can whip, and is still one thing that revives. Although it is retrograde, but it is better than nothing. " 2



Nature says that you are a 'great soul, is just that you're just born . So much of what you are yet to come, do not feel obliged to always agree. The time will come when you will agree, and everything will appear in the wrong. Hundred times you choose. Do not forget the infinite possibilities of which you participate. If Nature is right, and you are excellent for those souls, we often feel at fault than those more ready to lead, and dealing with the most effective.
other hand, you get to leave on the memory of your life. It will be a memory that no 'nothing more than to other men, probably much better than the men of your breath, a whole human memory.
Blessed? No! happiness dwells in the crystal palace of the four, two by two! Are you sure that this is your destination?
consciousness, you will not abandon the most: the lack reemerge.
can tell you sure you want to die as soon as possible. As soon as possible you will regret being so 'stupid.
still do not see what you will be wasting painstaking work to smooth the whole, better recognize, shape, sharp and defined contours: you're all set alienated in your work.
Soon, we roll up our sleeves to get rid of all your contours. You will remain in the hands of the sublime suffering.
When you're alone, all of it your own, you will open your true beauty. For the moment not very much: you feed the words of others, even if the words of others are so influential, are not yours:
Who informs you about the value of happiness? A language degree, and then what? Like all the other great souls, you will understand what is insidious the alphabet!


" A blank page to separate the text from the book just finished all of the Bard bragborismi appearing limbo by electroshock.
in this limbo and a special fonts, which is meant to defame God, to retract the words which records we wanted to give a special value. "


happiness or sublime suffering cheap?
prefer death. Nature is right: you are a 'great soul!
few words and you realized how cheap happiness does not exist.
death, she exists.
Remember: it could not be that preferring death, you will not follow the human fear of reaching the goal?
unfounded nature or not it with destiny on when this happens, death will come and get you.



" A free man thinks of nothing except death, and his wisdom is meditation, not of death but of life" 3



But places less secure, nobody asks you the example every day. For a 'your soul as the goal is to understand and free yourself.



" If men were born free, and so long as they remained free, will not form any concept of good and evil" 4



If .
1 G. Leopardi, moral Operettas, 1982, Garzanti, p. 81
2 F. Dostoevsky, Notes from Underground, 2002, Einaudi, p. 33-34-35.36
3 B. Spinoza, Ethics, 2009, Yale University Press, p. 247
4 B. Spinoza, Ethics, 2009, Yale University Press, p. 247

Chelsea Charms Comentarios

The disappointment, the result of age: Report I. Tambellini

"Referring to the notes of Zibaldone and reading of the moral Operettas, try to show briefly how the author's fundamental theoretical assumptions are reflected in a particular conception of history and in his poetry. Finally I tried to sketch lines to think, from Leopardi's thought, a moral perspective.
therefore begin by summarizing the main features of anthropology that can be drawn from the reading of Leopardi ... "Read the rest of
report in pdf format I. Tambellini (external site, new window; ringgrazia www.agenziaimpronta.net you for hosting the remote file):

Friday, May 14, 2010

Small Sailboat Rigging Diagram

Launching a comparison between Mandeville and Leopardi: report of M. Bellan

M. Bellan prepared his speech on the subject, entirely new to the seminar, the relationship between the ideas of Mandeville and those of Leopardi. The PDF file is available on external website and new window, link to this (Thanks www.agenziaimpronta.net for remote hosting of the document).

How Long To Keep Financial Records For A Church

Report MS Crucinia: the art of living to live long or hard? Report

MS Crucinia prepared his speech around the Dialogue of a physical and a metaphysical . The PDF file is available on site and outside the new window, link to this (Thanks www.agenziaimpronta.net for remote hosting of the document).

Thursday, May 13, 2010

What Can Cause Numbness Below The Hips?

A. Lodi on the issue of suicide in Leopardi

A. Lodi submit its report that compares Leopardi, Hume and Schopenhauer on the theme of suicide .
> link (pdf file, external site, new window; www.agenziaimpronta.net thank you for hosting the remote file).

Polyps Uterous Anyone Had

Report L. Water on the Seller's Almanac Report

L. Water submit its report on the brief dialogue Leopardi 1832.
Lineup report:
  • Overview of the work on the composition and location of the operetta under review;
  • Brief interpretation of operetta;
  • Quote a passage from the "Zibaldone of thoughts" which the pivotal concept of ' operetta;
  • theory of pleasure, happiness and imagination, illusions: the themes of Leopardi's thought;
  • brief reference to Schopenhauer;
  • Shooting operetta steps under consideration;
  • Conclusion: impressions and personal reading operetta analyzed.
"Dialogue a seller of almanacs and a temporary " is one of the writings of the Florentine '32, the other is "Dialogue of Tristan and a friend."
Before analyzing the operetta in particular, must take a general discussion of the Opera. It
, based on the contents of twenty-four "stories" (tales, satirical prose) that compose it, can be divided into four groups, each of which corresponds to a particular center of interest:
The first group: the concepts of illusion and happiness
Group II: theories of nature and pleasure;
III group consciousness of the moral problems of man about himself and society.
The dialogue in question may be placed in the final group, consisting of six prose in which they return with more detailed issues contained in the tales of the preceding groups.

Considering the hopes of men in relation to the eternal passage of time, you get to that theory of the pleasure that shows how each is placed in the hope that brings joy of illusions, so that men, even the rich and powerful, never want to repeat the life's events, whatever it may be been, but take another without knowing anything about it.
Happiness is therefore in the hope of a future life.
The concept of dialogue is contained in the following passage of Zibaldone : "(...) in life that we experienced and we know for sure, we all have experienced more harm than good, and if we limit ourselves and also we want to live again , this is only the ignorance of the future, and an illusion of hope, without which illusion or ignorance will not want to live, as we would like to relive in the way we lived "(pp. 42-83, 229 -30).

The theory holds that man's pleasure always tends to seek an infinite pleasure, as the satisfaction of unlimited pleasure.
It is wanted by the imaginative faculty of man, with which real things that are not conceive.
That option is human happiness. Nature provides man
happiness as a tool to reach not the truth, but an illusory happiness. According
Leopardi, humanity could be closer to happiness in the ancient world, when the poor knowledge gives free rein to the imagination, in the modern world, however, led to the seizure of real imagination to weaken.
Illusions (glory, love of country, ...) are second nature and is the only antidote to the effects of reason and civilization, guastatrici the modern world.
illusions are, paradoxically, to be true, the reality is trivial. Even
Schopenhauer spoke of life as pain, " Human life is like a pendulum that constantly swings between ennui and pain, with fleeting intervals, and more illusory, pleasure and joy ." ( Schopenhauer, Aphorisms )
Life, for Schopenhauer, is but the expression of the will to live, forever unfulfilled desire is irrational: our desires , Our own love are merely the expression of this irrational Will to live, to perpetuate life.

significant step in the dialogue:
"That life which is a beautiful thing, is not the life that you know, but what you do not know, not the past life, but the future."

The life that you know is the past, mingled with good and evil and it is for them that nobody would want to relive it.
The future life is not known, but once lived will be equally bad.
Leopardi, one can not hope: the future as long as it is beautiful future.

Even in the current life expectancy is always connected to our future prospects.
Although commonplace to speak of "pessimism of Leopardi," I noticed that the poet-philosopher of Recanati speaks of an inability to hope not, but doing so will inevitably fall into a vicious circle that leads to eternal dissatisfaction. It is as if
Leopardi as an alternative defining the existence of illusion / disillusionment and happiness / unhappiness at the center of hope.
In the dialog, if I ever say so to impersonate one of the two speakers, I would choose the vendor almanacs: hope for is always a good thing, keep alive, happy, hope is part of the human soul, we move towards the future and we give valid reasons for acting, for better or ill.
I do not see, like Leopardi, more harm than good in human existence.
If there were no evil, pain, you do not know well.

Wednesday, May 12, 2010

How Long To Sail From La To Sydney

M. De Donno: Leopards and Nature Images from Operettas

M. De Donno submit its report on Leopardi and Nature, which, starting from a comparison between the scenario of the 'Icelandic and that of Ginestra, comes to a final thought, and as the author wants to emphasize, staff, a relationship between man and nature.
De Donno The topics were covered, inter alia, for a meaningful discussion between Adriano Sofri and Sebastian Timpson (see respectively I was always green , Panorama, April 12, 1987, pp. The 136-41 and "Leopardi Green ," Belphegor ", XLII, 6, 30 November 1987, pp. 613-37, now in The green and red. Writings militants, 1966-2000 , c / d L. Cortesi, Rome, Odradek, 2001)
The text of M. De Donno is available in pdf on external site (Thanks for hosting www.agenziaimpronta.net remote file).

Sunday, May 9, 2010

Commercial Rabbit Pens

moral (report written by A. Pirola)

The report touches some of the figures of the characters of fiction Operettas in search of an interaction that is both capable of giving their word and to act as a creative start of a personal work. Happy reading!
> link (external site, new window; www.agenziaimpronta.net thank you for hosting the remote file)

Friday, May 7, 2010

Clip Art Elderly Receiving Mail

NIETZSCHE AND RICE RICE Leopard (oral report of E. Panicieri 07.05)


ladder (for clarification and further information on my report, given the brevity of the ladder due to the fact that only give you an order for my mind, already made, oral report, I am very happy to be contacted)


SOURCES: Essay "Rice Nietzsche and rice Leopardi" Antimo Negri collected in the pantry Material for this workshop from page. On page 65. 86; nietzschani aphorisms taken from The will to power and The Gay Science (unfortunately I had to make a selection very lean). During the lineup will specify the numbers of the various aphorisms.


1) INTRODUCTION (VERY IMPORTANT)

In order to adequately understand the thought of Nietzsche, without running into frequent misunderstandings and misrepresentations, it would have taken an introduction to his thought. Surely the same applies to Leopardi, but I only expressed on Nietzsche because, thanks to a university course in philosophical hermeneutics, I have really good depth this wonderful, intellectually daring, the author.


2)
(SOLO) APPARENT DISTANCE BETWEEN THE TWO INTERPRETATIONS RICE
It is understood, between the rice golden, hilarious, giullaresco, merry, merry, Dionysian "Nietzsche and rice" desperate "(this adjective is to be used very cautiously) to Leopardi.

3) In fact, with a further discussion, we note that the two interpretations of certain assumptions RICE IN TOWN .
They are:
- City criticism of the physical-mathematical science, mechanistic determinism.
"loans", "laws", "predicate", "science humanized" aphorism 565 (the last five lines) taken from the Will to Power a.

- It opposes human world and human laws (illusion) and the natural world and more mundane (for two authors, science has discovered the human world, perhaps, certainly not a natural!)

Here, however, we need to make a very important statement, namely that Leopardi remains, however, perhaps because of his experience sensationalist empiricist and a realist (though we'll see, Black Leopards will also come to prospective results of nihilism and construction) and Nietzsche reduces the world to "fairy tale". Nietzsche nihilism (Nietzsche precisely that by reason of his crucial "experiment in life," says yes to life! Its nihilism is a constructivist), anti-realist, antipositivista, antikantiano. Crucial here to introduce his theory of perspectivism (aphorism 481 the Will to Power ). The Gay Science is opposed to science, mathematics, physics, accurate. In Nietzsche, it must be, dutifully, replace the word "discovery" by the term "invention".


4) WHERE IS THAT BREAKS THEIR RICE, THEN?

front of the inconsistency between the real world and the scientific-mechanistic universe.

5) CRITICAL Leopard scientific thought-mechanistic
Now let us reflect on some critical Leopardian (of which there are absolutely in Nietzsche, INDEED!) On these issues. Key words or expressions in Leopardi: SYSTEMS things that accommodates itself to things), IMAGINATION, BELIEF, THE CONCEPT OF CRITICAL ISSUE "natural systems", "TOLERANCE", "ASSUEFABILITA '", "CUSTOM" "CUSTOM".

To understand these quotes you read all the pieces of Leopardi (where you can contextualize his thought chronologically) in the essay on page Negri. 69, 70, 71, 72, 73 and integrate them with the following aphorisms: 110 ( Gaia science, read the three lines in which it is written in different character, the term "strength"), 283 (read the 'last part, from a few lines before the end of Vesuvius to the end, Gay Science), 112 ( Gay Science), 482, 483 ( Will Power ).

6) THE YOUNG LEOPARDI Mechanists ...
Negri recalls, however, that the Leopards History of Astronomy in 1813 believed, however, the perfect congruence between the system of things and the natual world of things. Astronomy, for Leopardi, can boast of the discovery to determine the cause (correct) of natural phenomena.

7). .. A bracket, according to A. NEGRI
However, Negri, this is a parenthesis of Enlightenment thought leopards. In fact with Speech of an Italian romantic poetry around the of 1818 can be seen as Leopardi returns to his thesis preceded the "Phase Enlightenment." Leopardi says here that science does is remove all the "poetic and beautiful" to life. To speak as Nietzsche might say that these claims Leopardi uses cloaks of Apollonian exact science that do nothing but try to make the same uneven, heterogeneous homogeneous, to calculate the incalculable, not precisely accurate, measured the immeasurable, Apollonian Dionysian. The Leopards of Speech
fact does just the following fragment of Heraclitus: "Nature is not hidden but is revealed" and in a passage (already given as a reference) page. 73 Negri's essay shows antiparmenideo Leopardi. Near the end of page. 77 of the essay you can read a passage that refers to that condition Leopardi artificial, counterfeit of science. Here in night song of a wandering shepherd of Asia (page 78 of the assay) to return because it is human, the key Questions and existential philosophy itself, which begins with the superb STATEMENTS contrapponogono of physical-mathematical science.

8) IDENTITY AND ORIGIN OF RICE IN NIETZSCHE LEOPARDI
latter part of the essay, Negri says that the rice Leopardi and the laughter of the German poet and philosopher have the same "birth". Both were born in fact from oblivion, the oblivion of the truth. Leopardi does allege that the only way to rise to the joy (p. step. 80-81 assay). Leopardi in 1821 maintains that the condition of loneliness, of neglect from human affairs is necessary in order to better interpret the same business. If you read the passage from the Dialogue Torquato Tasso and his familiar spirit this page. 85 of the test, you can well understand why Negri leads to nihilism Leopardi, prospective, hermeneutic, constructivist, heuristic as in Nietzsche. Leopardi
fact here is their expressions as "form in its own way", "create a world", which indicate that very vis poietic, creative, constructivist perspective and nihilist who have allowed the German philosopher and poet to create The Gay Science Italian philosopher and poet poetry.

Thursday, May 6, 2010

Restless Legs At Night

stylistic aspects of Operettas moral lessons along the lines of American I. Calvin: Report of G. Report by M. Mancinelli

LEOPARDI LESSONS AND AMERICAN

Reading "American Lessons" by Italo Calvino simultaneously with the "moral Operetta" by Giacomo Leopardi, I had the impression that the poet had written Marche his work following the advice given by Calvin in his lectures.
Obviously this is impossible, but it is clear that Calvin has written the lessons in mind the style of Leopardi. Lessons in fact there are many calls by both the Calvin Zibaldone and other writings of the poet Marche, this brief report will attempt to highlight the points where "Lightness", "Speed" and other aspects of style counsel by Calvin future writers emerge with greater relevance in their Operetta
Before doing this we summarize briefly the "Memos".
genesis of

On June 6, 1984 Calvin was invited by 'Harvard University to give a series of six lectures that
traditionally take place during the' academic year : The Charles Eliot Norton Lectures Poetry.
Calvin wrote about it on the five themes of "Lightness", the "Speed", the 'accuracy' of
"Visibility" and "Multiplicity" (the sixth was to write in America).
He was preparing to leave when a stroke killed him.
The conference summed up, in theory, all the concerns and interests of Calvin writer, essayist
, engaged intellectual.
scholars are full of references and show the whole training (studies, readings, etc.) the writer of Genoa.
analyzed for the themes presented by Calvin highlighting how these are reflected in the "moral Operettas".

"Lightness"

Calvino devotes the first lessons of American light-weight opposition, claiming to support the reasons for the lightness, the lightness in what he thinks of having "more to say." His work as a writer was in fact a subtraction of weight, he tried to remove weight especially for the structures of narrative and language. For Calvin then the lightness is a value that he recognizes in past works, see this in the current and projected into the future.
He says that at the beginning of his writing the "categorical imperative" was to represent their company. As soon as the young writer tried to follow this rule noticed that there was a huge gap between the facts of the world and its desire to offer an agile and sharp style. To overcome this hurdle Calvin compares himself to Perseus: " The only hero able to cut off Medusa's head is Perseus, who flies with winged sandals, who does not turn his gaze on the face of the Gorgon but only on its reflection in the bronze shield. Thus Perseus comes to my aid at this very moment, while I was already captivated by the grip of stone, as happens to me every time I try a historical-autobiographical. Better to let the My speech composed of images of mythology. To cut off Medusa's head without being turned to stone, Perseus supports himself on what is lighter, winds and clouds, and fixes his gaze on what can be revealed only by indirect vision, an image captured by a mirror. Now I feel the temptation to see this myth as an allegory of the poet's relationship with the world, a lesson in the method to follow when writing. "
Leopardi in his operettas are issues that are dearest to him: the man's relationship with history, with its kind and, in particular with the nature of a personal vision which Leopardi mature philosophical comparison between the values \u200b\u200bof the past and this static situation, and degenerate, and the illusions of power, glory and boredom. The "Lightness" in dealing with these issues is almost a must to make pleasant reading for an audience as broad as possible, we must admit that the poet has achieved his goal as, for example, in the "dialogue of Torquato Tasso his familiar spirit "Torquato longs for Eleanor and the Genie will meet the promises it to him in dreams, even after having said that we should not idealize women too, because they are not angels but human, and that among the real things and things you dream there's no difference, rather than dreaming of being by far the sweetest and most beautiful than they can ever be real ones. The three topics are therefore those concerning the consistency of the true nature of pleasure and boredom. After the conversation of two characters the reader expects a final containing some theory about the topics, instead Leopardi ends the dialogue with Nihilism, but lightly.
rate. Goodbye. But listen. Your conversation comforted me very well. She does not stop my sadness, but for the most part this time is like a very dark night without moon or stars, while I am with you, looks like the dark of twilight, rather grateful that annoying. Lest from now on I will call you or find when he wants, tell me where you usually live.
Genius. Have not you known? In some generous liquor.


"Speed"
Regarding the second issue addressed by Calvin, or the speed, its explicit reference to Leopardi, the writer mentions it when the Genoese Zibaldone develops his reflections on speed and get to talk about the style : "The rapidity and brevity of style because it has the soul like a crowd of ideas Simultaneous succedentesi so quickly that seem simultaneous, and are waving the soul in such an abundance of thoughts, feelings and spiritual imaginativeness, she or is not able to embrace them all, and each fully, or do not have time to stay idle, and has no feelings. The power of poetic style, which largely one and the same rapidity, it is not pleasant for other than for these effects, and is not in another. The excitement of ideas simultaneously, and can be derived from each isolated word, or his or metaphorical, and their location, and by the turn of phrase, and the same suppression of other words or phrases (November 3, 1821). " Obviously these considerations are exemplified in the overall design of all operettas, but one in particular the theme of time and speed, I think, is a very special space. I refer to the dialogue of Frederick Ruysch and his Mummies : quest'operetta addresses the theme of death. Frederick Ruysch is a scientist who holds the mummies inside his lab. One night feels when you step in the mummies that sing a hymn to death. He learns that you fall in the year that allows mathematical died a short time to speak and answer questions live. In this' operetta, we note that Leopardi addressing the issue of death, through the characters of the dialogue in a very limited period of time (the mummies can answer questions for one quarter of an hour), he nevertheless manages to provide its view Ruysch calls to the dead which were in fact the feelings, thoughts I have in the time of death. It is well to know that dying people does not feel fear or pain, but also relief and a sort of languid pleasure
Ruysch. So what is death, if not pain? Dead. pleasure rather than anything else. Know that dying, like falling asleep, not is done in an instant, but gradually. It is true that these degrees are more or less, more or less, depending on the variety of causes and kinds of death. In the last of such moments, the death does not bear any sorrow or pleasure, or even as you sleep. In other precedents can not generate pain because pain is a living thing, and the human senses at that time, that is begun which is death, are dying, that is to say, extremely attenuated forces. It may well be the cause of pleasure, because pleasure is not always a living thing, and indeed perhaps the most beloved human consist of some sort of languor. So that man's senses are capable of pleasure also in extinction, since very often the same languor and pleasure, especially when it frees you from suffering, because you know that the cessation of any pain or discomfort, and pleasure for herself. So the languor of death should be more grateful that frees man from the second most suffering. For me, if the hour of death is not well positioned very carefully to what I felt because I was forbidden by doctors to tire the brain, but I remember that the way they felt, was not very different from the pleasure which is caused to men from the languor of sleep, over time you are asleep.
The other deaths. Even as we seem to remember.


So Leopardi is the subject of death very quickly, remember that mummies remain awake for only a quarter of an hour, and writes quest'operetta so that the player uses just one quarter of an hour to read it all. In addition to a quick example of the dialogue Frederick Ruysch and his Mummies can also be an example of the next issue which will be discussed, the accuracy.


"Accuracy"
Regarding this point, which we quote directly Calvin lists three key points to define "accuracy"
... Accuracy means to me three main things: 1) a design work well defined and well-calculated, 2) the evocation of visual images sharp, incisive, memorable, [...] 3) a language as precise as possible as vocabulary and yield shades of thought and imagination. "
reading these points you may think at first that Leopardi, also nicknamed "the poet of vagueness" can not be the model defined by Calvin as a writer, in fact Zibaldone Leopardi praises of the vagus: "The words out, ancient, and the like are poetical and pleasing, because ideas are of vast and undefined, and not determinable and confused " (September 25, 1821).
Actually Leopardi knows very well how determine the ideas about the vague, is explained in a statement echoed by Calvin Zibaldone. To enjoy the beauty of the vague and indeterminate attention is required very precise composition of each image, in elaborating the details and so on. Calvin says it "The poet of the vagus may be only the poet of
precision. "
said this is known as the Leopards have a clear and precise in each of his operettas, also the evocation of images and characters is perfect, and when there is an explicit reference to a historical figure , eg. Christopher Columbus, is when the characters mentioned are pure fantasy, I can think of fashion and the Dialogue of death.


"Visibility" and "Multiplicity"
Calvin moved in this way, the choice to include the "Visibility" in his essay:


"If I have included the visibility on my list of values \u200b\u200bto be saved is to warn of the danger of losing that we are running a basic human right: the power to focus on visions with closed eyes, to colors and shapes emerge from the alignment of blacks alphabetic characters on a white page, to think in pictures. "

"However, all the" reality "and" fantasy "can take shape only through writing, in which exterior and interior, world and I, experience and imagination appear to consist Minutes of the same matter "

This reminds us of the ability to read and analyze what happens to people, nature etc. and then build a representation. In Operettas Leopardi demonstrates that he looked very well nature and that he got an idea about the relationship between her and the man in the "Dialogue of Nature and an Icelander. This dialogue was written in 1824 and addresses the theme of the nodal nature that is personified and described as a large woman standing with her face and half between the beautiful and terrible. Leopardi lies in the nature the equator and it is here that a meeting between the two, the first Icelandic explains why native land, and then fleeing from nature, it abandoned the other men in his opinion that Iceland is a country hardly habitable. The dialogue between the two ends with the nature of man which explains its indifference towards the human race:
Nature. Perhaps you imagined that the world was made because of you? We now know that the invoices, orders and operations of mine, trattone very few, and I always had the intention to anything but the happiness or unhappiness of men. When I offended you in any way and with what it is half, I do not n'avveggo me, if not very rarely: as, ordinarily, if I pleasure or benefit you, I do not know, and I did not, as you believe, as these things or not those fo these actions, for pleasure or benefit you. And finally, if I happen to pay off your whole species, I will not avvedrei.
In this dialogue, then, in addition to being clear how the Leopards face shape to their imaginations, it also shows the ability to " connection between the facts, among people, between things of the world. " that is what he means Calvin when he speaks of multiplicity.
















Monday, May 3, 2010

Recipe For Hand Lotion

Goegan on Goethe and Leopardi

M . Goegan develops a comparison between the anthropology of Goethe's Faust and that of Operettas, with reference to the themes of glory, action, research more or less useless and enjoyment of the moment happy.
Link (pdf file, external site; www.agenziaimpronta.net thank you for hosting the remote file).

Saturday, May 1, 2010

What Color Shirt To Wear With A Light Grey Suit

surf in the waves on the sea

I knew would happen, I am writing a little confused virtual note on the meeting yesterday when I could intervene in the flesh and with my voice. Again ... my usual shyness.
In any case, I quickly jotted down some notes and memories of something I wanted to say something. I remember for example that covered the speech that was being done on skepticism. I wrote notes on "strategy. Why?". Evidentemete I wanted to bring attention not on how, or what, but the human experience and artistic poet. In short, I wanted to ask (and this perspective has always fascinated me) why life as a living instance requires the use of Leopardi skepticism (that is so or what kind of thoughts I agree with the professors). My imagination then began to mumble transported from the thoughts that were released in the courtroom. I write "wonder-great metaphysical liberation." I was referring to 'Eurak! . Then write "see the plot of the speech-skeptic great liberation." Here too a great liberation . A bike overturned, however, than its predecessor. A difficulty emerges that the intuition of living instance of because I was looking for. Surfaces and then sinking again. But looking at my face is poetically seemed for a moment to understand the strategy (certainly not polished calculation) that takes place, so to speak, in the imaginary artistic philosophy of Leopardi. Finally, I write "strategy of the two natures. Education.." Then I started thinking about the place where the sea and sky meet, surface, and I was made to meet the image of a wave. I thought about the gravity of man. Then I imagined a surfer and I wrote "surf the waves on the sea." The application allows the skepticism of Leopardi sostenesi surface. This tide, this circle of illusion and recirculating \\ delusion permits: 1.al thought of the poet to remain natural thought (for a while inconceivable) 2.al body, nature thinking of the poet to sustain (not thought). Everything is without resolution but allows a man to persevere in the motion. I will stop here.
proferssori I thank for their speeches yesterday.
Alberto.