Fabrizio Ulivieri - TrendSetter

  Poetry transcends prose. Prose offers examples, develops ideas, explains. Poetry delves into the depths, captures the light, captures the moment, captures the connection.  As Heidegger says (and I invoke him o btorto collo ), it prepares the space in which the divine comes to pass in the word. As the Book of Job bears witness, the central idea of poetry is the human being. That of philosophy is structure and system. Poetry prepares the ground for the coming of the Excess (God, who inspires our lives) - the One who watches us attentively in our endless struggle against evil. Poetry “ reveals to us the profound and painful drama of human nature, which Dostoevsky expressed through the words of Dmitri Karamazov: ‘God and the devil are fighting in the human heart. ” (Antanas Maceina, The Book of Job ) Poetry is an attempt to redeem the human being from this drama of his - every human being, whether they believe in God or not. ----------------- Telegram: De Unamuno Whatsapp: De Un...

Poezija peržengia prozą. Proza pateikia pavyzdžių, išplėtoja, paaiškina. Poezija eina į gelmę, pagauna šviesą, pagauna akimirką, pagauna ryšį. Kaip sako Heideggeris (ir cituoju tai obtorto collo), ji paruošia erdvę, kurioje dieviškumas įvyksta žodyje. Kaip liudija Jobo knyga, poezijos pagrindinė idėja yra žmogus. Filosofijos – sąranga ir sistema. Poezija paruošia dirvą Pertekliaus (Dievo, įkvepiančio mūsų gyvenimus) atėjimui – To, kuris atidžiai stebi mus mūsų nesibaigiančioje kovoje su blogiu. Poezija " atskleidžia mums gilią ir skaudžią žmogiškosios prigimties dramą, kurią Dostojevskis yra išreiškęs Dimitrijaus Karamazovo žodžiais: „Dievas su velniu kovoja žmogaus širdyje " ." (Antanas Maceina - Jobo Knyga ) Poezija yra bandymas atpirkti žmogų iš šios jo dramos – kiekvieną žmogų, nesvarbu, ar jis tiki Dievą, ar netiki. ----------------- Telegram: De Unamuno Whatsapp: De Unamuno Academia:   https://independent.academia.edu/fulivieri 

  The Heideggerian man is a man without God. A man devoted to dying without the hope of resurrection. He is a “brick” in a wall of bricks. In that wall, he finds his completeness: to remain a brick in a composition (State) of bricks. In this sense, he is not different from the instrument he uses, when, in its usability, it reveals its Thing-ness. Thus, the Heideggerian Man, in his capacity to be a brick, and the structures that determine the existence of a brick, reveal Dasein-heit , his Therebeing-ness. He is a man, son of the phenomenological reduction, a vision for apprehending things, flashing them out of their hiding. He has excluded God from his Being-in-the-world, from his existence. He is Godless. For Heidegger, “existence lies solely on this side: it begins on this side and ends on this side. It has no path to the other side, nor any glimmers from the other side. God has left this bank in a state of complete uncertainty, an eternally insoluble equation for which we suppose...

  Σιλβίᾳ καὶ Κλαυδίᾳ — πάσῃ τῇ ἀγάπῃ ᾗ αὐτὰς ἐν τῷ βίῳ ἠγάπησα Visi pavargę, dulkėmis pajuodę Į paskutinę šitos žemės rinką Nedrąsiai, pamažu Suslinkom Dar kiek pabūti. Juk gražu - Ar ne? - dar kiek pabūti . (Antanas Maceina - Gruoda) [***] Quando io piú non sarò qui - tu sarai. E ancora sarà viva la tua storia, Di mia forse poco ricorderai. Andrai sola per la tua traiettoria. Un angelo in più ti accompagnerà Nella strada - che tenga sua memoria. ------------ [***] Stanchi, neri di polvere All'ultimo stare di questa terra Senza grande coraggio, lentamente Siamo giunti insieme. Ancora un poco resteremo qui. È bello, no? Un po' ancora - uniti andare. ------------ Telegram: De Unamuno Whatsapp: De Unamuno

  Kai vertini istoriškai, tu reliatyvizuoji. Tuo pačiu metu, kai įtrauki į kontekstą esminius filosofinius klausimus, atimi iš jų filosofinę vertę ir reliatyvizuoji jų reikšmę. Tas pats ir su tiesa: jos negalima reliatyvizuoti. Tiesa yra viena. Lygiai taip pat ir esminiai filosofiniai klausimai — jie nepriklauso nei nuo laiko, nei nuo vietos.[1] Tokiu principiniu klausimu prasideda ir Mundaka Upanišada . कस्मिन्नु भगवो विज्ञाते सर्वमिदं विज्ञातं भवतीति kasmin nu bhagavo vijñāte sarvam idaṃ vijñātaṃ bhavatīti „O Garbingasis Viešpatie, ar pažinus tai (hic et nunc), tampa pažinta visa tai, kas yra (idam)?“ Kitaip tariant, jei žinau tai (hic et nunc), žinosiu ir visa kita. Jei atsiras tai (hic et nunc), atsiras ir visa kita. Antano Maceinos mintyje ši esminė pažinimo klausimo struktūra buvo susieta su skausmu. Maceina atrado skausmą kaip pagrindinę žmogaus egzistencijos varomąją jėgą. Maceina labai anksti susidūrė su pasaulyje šėlstančiu blogiu: „Man pačiam blogis įvairiu savo pavidal...

  When you evaluate something historically, you relativize it. At the very moment you place fundamental philosophical questions within a historical context, you deprive them of their philosophical value and relativize their significance. The same applies to truth: it cannot be relativized. Truth is one. Likewise, fundamental philosophical questions belong neither to a particular time nor to a particular place.[1] It is with such a principled question that the Muṇḍaka Upaniṣad begins. कस्मिन्नु भगवो विज्ञाते सर्वमिदं विज्ञातं भवतीति kasmin nu bhagavo vijñāte sarvam idaṃ vijñātaṃ bhavatīti O Blessed One Sir, by knowing this [locally] does the [idam] All become known? In other words, if I know this (hic et nunc), I will know everything else. If this (hic et nunc) comes into being, everything else will come into being as well. In Antanas Maceina's thought, this fundamental structure of the question of knowledge was linked to suffering. Maceina discovered suffering as the primary drivi...

  Homesickness, or nostalgia, is a longing not so much for people as for the natural landscape of one's homeland: its forests, mountains and hills, rivers, lakes, the blue of its skies, its sunsets—in short, for the whole environment with which a person has grown together, and on leaving which he feels that he has left behind a part of himself. (Antanas Maceina) Below is a poem by Salomėja Nėri s, one of Lithuania's most celebrated poets, who suffered more than perhaps any other Lithuanian intellectual from being separated from her homeland and, above all, from being accused of treason (rightly or wrongly, that is not for us to judge). Bloodied and plundered, You stand before my eyes... I would walk a hundred miles on foot Until I saw you living once again. Whether orchards there are blossoming, Or fruit hangs heavy on the bough, Or yellow leaves are falling, I shall return to you on my knees Through rain, hard frost, and winter's cold... Like the grass that grows in...

  Tėvynės pasiilgimas, arba nostalgija, yra pasiilgimas ne tiek žmonių, kiek tėvynės gamtos: miškų, kalnų bei kalnelių, upių, ežerų, dangaus mėlynės, saulėlydžio, apskritai visos aplinkos, su kuria žmogus yra suaugęs ir kurią palikęs jis jaučiasi palikęs savo paties dalį.  (Antanas Maceina) Sukruvinta ir apiplėšta Ji stovi man akyse… Šimtus aš mylių eisiu pėsčia, Kol gyvą pamatysiu. Žydės ten sodai, svyros vaisiai, Ar lapai kris pageltę, Aš keliais į tave pareisiu Per lietų, gruodą, šaltį… Mane – kaip lauko žolę – girdė Gimtosios žemės syvai… Aš saugojau tau savo širdį – Žėruojančią ir gyvą. Nepardaviau tavęs aš niekad, Neišdaviau, mieloji! Audra praūžia, miškas lieka… Širdis gi nemeluoja. (Salomėja Nėris) Telegram: De Unamuno Whatsapp: De Unamuno

  Gi subjektyvus pergyvenimas, kuris neatitinka objektyvios padėties, yra ligūstas pergyvenimas  ...bet nieku būdu ne pats kintąs dalykas arba kitimo objektas. "Quando un'esperienza soggettiva non corrisponde alla situazione oggettiva, è un'esperienza dolorosa ... ma [il soggetto] non è mai la cosa in sé che cambia o l'oggetto del cambiamento." (Antanas Maceina) Sono solo - con il tempo più solo. Vivo gli anni che vanno per sempre e la gioventú che una volta eterno dovuto stato mi pareva - ora ignoto mondo appare, in un continuo a me infinito ritorno che si ripete e cerca Vittime nuove a incarnare - attori immortali che mai muoiono, che solo Lasciano la scena senza però davvero vivere il dramma - crudele assurdo teatro. Altre comparse di nuovo vanno sul palco tali Che sospesi si credono in vita, eterni e uguali. La bella gioventú riman cosí un sogno Ansioso che ripete in macchine complesse La meraviglia di sua bellezza animale E la gioventú dell'uomo vivrà nel...