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­ ­­ ­­ ­­­­ ­­ ­­. ­ ­­­ ­ ­ ­­ ­­­ ­ ­­­­ ­­­ ­­­ ­­­ ­ ­ ­­ ­ ­ ­­ ­­­ ­3. ­ ­­, ­­ ­­­ ­­ ­ ­ ­ , ­­, ­ ­­­ ­. ­­ ­ ­, ­ ­ ­ ­­ ­­­­ ­­ ­­ ­ ­ ­­ ­­. ­ ­ ­ ­ ­ ­­­­ ­, ­ ­­ ­­­ ­­ ­ ­­ ­­­­­. ­­ ­­, ­ ­­­­ ­ ­­­ ­­­ ­­ ­­­­ " ­­ ­­­­"4.

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­ ­­­ ­ ­­ ­­­ ­ ­­­­­. ­­­ ­­­ ­­ ­­ ­­ ­ ­ ­­­­ ­­ ­­ ­­­ ­ ­ ­ ­­­ ­­­­. ­­ ­­ ­­­ ­­­, ­­ ­­ ­­ ­ ­­­ ­ ­­­­ ­ ­­, ­ ­­­ ­. ­­ ­­ ­, ­ ­­ ­. ­­ ­ ­ ­ ­­ ­ ­ ­ ­­­ ­ ­­­­ ­ ­ ­­­, ­ ­­­­ ­ ­­ ­. ­­­ ­ ­ ­­ ­­­ ­­­­ ­­ ­­­ ­, ­­­ ­­ ­­­­8 ­­ ­­ ­­ ­­­­­ ­ ­ ­ ­­ ­ ­­­­ ­­ ­­­­. ­ ­­ ­ ­­ ­­ ­­ ­, . ­ ­­­ ­ ­ ­­ ­­ ­ ­­­: "­­ ­ ­ ­ (­) ­­ ­"9.

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ʚ­ ­­ ­­ ­­ ­­­, ­­ ­ ­­ ­ ­ ­­­ ­ ­­­. ­­ ­ ­ ­, ­ ­ ­ ­­­ ­ ­ ­ ­ ­ ­­, ­ ­ ­­­. ­ ­ ­­ ­­­ ­ ­­ ­­­ ­, ­­ ­ ­ "­­­" ­­ ­­ ­­, ­ ­­ ­­ ­­­ ­ ­­ ­. ­­ ­ ­ ­ ­­­ , ­­ ­­ ­ ­­­ ­­­ ­­­, ­­­ ­­­, ­­ ­­ ­­. ­ ­, ­­­ ­ ­­ ­­ ­­­ ­ ­­ ­­­ ­, ­­­ ­ ­­­­­, "­­­", "­­­" ­­­. ­ ­­ ­­­, ­­­ ­ ­­­ ­. ­ ­­ ­­­, ­­­ ­­ ­ ­­ ­­ ­­, ­ ­ ­­ ­­ ­ ­­ ­­­, ­ ­­ ­ ­ ­­. ­ ­­­ ­ ­­ ­ ­­ ­?

 

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­ ­­ ­­­ ­ ­ ­­ ­­ ­ ­­ ­­­ ­­­ ­­­ ­­ vi­ta ac­ti­va u vi­ta pas­si­va. ­ ­­­ ­ ­ ­­ ­­ ­­­ ­­ ­­­ ­­­ ­­­ ­ ­­­­ ­­­ ­ ­­­ ­­ ­­ ­­­ ­ ­­­­ ­ ­­ ­­. ­­, ­ ­­ ­ ­­­ ­ ­­ ­­ ­ ­­­­ ­ ­­­ ­­ ­ ­­ ­­ ­­­ ­, ­ ­­ ­­­ ­ ­­ ­­ ­ ­ ­­. ­­ ­­­­ ­­ ­­­ ­ ­ ­­­­ ­ ­ ­ ­­ ­ ­ ­, ­ ­­­ ­­ ­ ­ ­­­, ­ ­­­. ­­­ ­ ­ ­ ­. ­­­­ ­­­ ­ ­­ ­­­. ­ ­ ­­ ­­­ ­­­ ­ ­, ­­­ ­­ ­ ­­ ­­. ­ ­ ­ ­ ­­. ­­ ­ ­­­­­­ ­­ ­ ­ ­­ ­­­­ ­­ ­ ­­­ ­­­ ­­­.

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­ ­­­ ­­ ­­ ­­­­ ­ ­ 1900. ­­. ­­ ­ ­­­ ­­­­­­ ­ ­­ ­­ ­­­ ­ ­­ "­­ ­­­" ­­ ­­­ ­ ­­­­ ­­­ ­­­ ­­­ ­­­­ ­, ­­ ­­­ ­ ­­­ ­­­. ­ ­ ­, ­ ­­­ ­ ­­ ­­­­­­. ­­ ­­­­ ­­­ ­­ ­­ ­­­ ­­ ­­ ­­ ­ ­ ­­­ ­. ­­ ­­ ­­ ­­ ­ ­­­ ­­ ­ ­­, ­­ ­­ ­ ­­ ­­­. ­­­ ­­ ­­ ­­ ­­­ ­ ­ ­ ­­ ­­­ ­­­.

­­­­ ­ ­ ­ ­­ ­­­ ­­ ­ ­ ­­­­­ ­­­ ­­ ­ ­­ ­­. ­ ­ "­ ­­­ ­ ­­, ­­, ­­­ ­­ ­­­, ­­­ ­ ­­ ­­­ ­­ ­­"20. ­ ­­ ­­­, ­­­ ­­­ ­­ ­ ­­­ ­­­ ­­­ ­. ­­­ ­ ­­ ­­­ ­­­­ ­­­­, ­ ­ ­ ­ ­ ­ ­­­ ­­­ ­­, ­ ­­­ ­­­­ ­ ­­­­­ ­­­ ­. ­­­ ­­­­ ­­­ ­­, ­­­­­ ­­­­ ­ ­ ­­ ­ ­ ­ ­ ­. ­ ­ ­ ­­­ ­ ­­­ ­ ­ ­ ­ ­ ­­ ­ ­­ ­­. ­­, ­ ­ ­­­ ­ ­­­ ­­ ­­­­.

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­ ­ ­ ­­, ­ ­­­ ­ ­­ ­ ­­ ­­ ­ ­ ­­ ­­­ ­­. ­ ­­­ ­ ­­ ­­ ­­ ­­­ ­­­ ­­­, ­­­ ­­ ­­ ­ ­ ­ ­ ­­. ­ ­­­ ­­ ­­­ ­ ­ ­­ ­­ ­­ ­ ­­ ­­ ­ ­­­ ­­. ­­ ­ ­ ­ ­­ ­ ­­ ­ ­­ ­, ­­ ­ ­ ­­­ ­­ ­. ­-­ ­ ­ ­­ ­­ ­ ­­ ­­ "­­­ ­"26, ­­ ­­­ ­­­ ­­­ ­ ­­. ­ ­­ ­­ ­­­ ­­ ­­ ­­­ ­­ ­­­ ­­ ­ ­­­­­ ­­ ­­ ­­­ ­ ­­ ­ ­­ ­ ­­ ­ ­­ ­­­­ ­­ " ­­ ­­ ­­­"27. ­ ­­ ­­­, ­­­­ ­­ ­­­­ ­­, ­ ­­ ­­­ ­­ ­­. ­­ ­ ­ ­­­ ­­, ­ ­­­­­ ­ ­­ ­ ­ ­ ­ ­­­, ­­ ­ ­ ­­ ­ ­­ ­­ ­ ­­­ ­ ­­ ­­ ­­­­ ­­­ ­­ ­­ ­ ­­­ ­­ ­­ ­ ­­ .

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­ ­, ­­ ­ ­­­ ­ ­­­­ ­­ ­­ ­­­­ ­­­ ­ ­ ­­­ ­ ­ ­ ­­ ­­­­ ­­­. ­­, ­ ­­­ ­­ ­­ ­­ ­ ­­­­ ­ ­­? ­­ ­­­ ­­­ ­­ ­­ ­­­­, ­­, ­­ ­ ­ ­? ­­­ ­-­­ ­ ­ ­­ ­­­­, ­­ ­­­­ ­­­, ­ ­­ ­­­ ­ ­­­ ­­ ­ ­ ­ ­­ ­ ­ ­ ­­, ­ ­­ ­­­ ­­, ­ ­ "" . ­­­ ­­­ ­­ ­, ­­ ­ ­­ ­­ ­­­, ­­­ ­­­ ­­ ­ ­­ ­­­, ­­­­­ "­­­­­­"31 ­ ­ ­­­­ ­­­ ­, ­ ­­­­ ­­ ­­ ­­­­ ­­­ ­­­ . ­­ ­­ " ­" ­ ­ ­­­, ­ "­­­ ­ ­ ­­­ ­­, ­­ ­­ ­­­"32. ­­­ ­­­ ­­­­ ­­ ­ ­­ ­ ­­­, ­ ­­­­­ ­ ­­­, ­­ ­ ­ ­­ ­ ­ ­­ ­ ­­ ­. ­­ ­­­ ­-­­ ­ ­­ ­­ ­­ ­­­, ­­­ ­­­ ­­­ ­­, ­­­ ­ ­­, ­ ­­ ­. ­­ ­­ ­ ­­­­­ ­­ ­ ­ ­­­ ­­­ ­. ­­­­ ­­ ­­, ­ ­ ­­ ­­­ ­­­ ­­­­­ ­­ ­­ ­­­. ­­ ­­­­ ­ ­ ­­ ­­ ­ ­ ­ ­­­, ­ ­­­. ­­­ ­ ­­­ ­ ­­­ ­­ ­­ ­­­. ­­ ­­­­ ­­ ­­­, ­ ­ ­­ ­­ ­­ ­­­ ­­ ­­­ ­ ­­ ­, ­­­ ­­ ­­ ­ ­­ ­­ ­­ ­­­ ­­ ­­­­.

­ ­­ ­­, ­­ ­­ ­­­, ­ ­ ­-­­ ­­ ­ ­­­­­ ­ ­­­. ­ ­ ­­­­ ­­­, ­ ­ ­­ ­ ­. ­­, ­ ­­ ­­­ ­­­ ­­­ ­­­ ­­­ ­ ­­­­ ­­­­, ­ ­ ­­ "­ ­" ­­. ­­­ ­ ­­ ­­­­­, ­ ­­ ­ ­ ­ ­. ­­­­­­, ­ ­­­­ ­­ ­, ­­ ­ ­­­ ­­­ ­ ­­­ ­ ­­­. ­­ ­ ­ ­ , ­ ­­­ ­ ­ ­-­ ­ l’in­ter­mon­de, ­­ "­ ­ ­­ ­­ ­ ­ , ­ ­ ­ ­ ­­ ­­ ­ ­­ ­­ ­­­"33.

­­ ­ ­­­ ­­­­ ­ ­ ­ ­ ­­­ ­­­, ­ ­­­­ ­­­­ ­­ ­­, ­­ ­­ ­­ ­­­ ­­­­ ­. ­ ­ ­ ­ ­­ ­­­ ­ ­ ­­­ ­­­, ­­ ­­ ­ ­­­ ­ ­­ ­­­­ ­­? ­ ­­­ ­ ­­­­ ­­ ­­ ­ ­? ­­­ ­­ ­­­­ â­ ­­ ­­ ­ ­­­­ ­­­­ ­­ ­­, ­ ­­­ ­ ­­­­, ­­­­ ­­?

­­, ­ ­­ ­­­­ ­­ ­­­ ­­ ­ ­ ­ ­ ­­­­. ­­ ­ ­­­ ­­­ ­ ­ ­­ ­ , ­ ­ ­­­ ­­ ­­­­ ­ ­ ­­­. ­ ­ ­­ ­­­ ­­ ­ ­­­ ­­, ­­ ­ ­­ ­ ­­ ­­­­­. ­­ ­ ­ , ­­ ­ ­ ­­. ­­ ­ ­­­ ­­­ ­ ­­­ ­­­­ ­ ­­. , ­ ­ ­­ ­­­­ l’in­er­mon­de ­­ ­­ ­­­. ­­, ­­­­ ­ ­­ ­ ­ ­­­ ­­, ­ ­ ­­­ ­­­.

 

 

­­:

 

  1 ­ ­ ­­ ­­­ ­ ­­­ ­­ ­­­­ 159001.

  2 ­­, ­­­­ 1019, ­­ 2007, . . ­­­, . 190.

  3 G. Plam­böck, "Dyna­mis", u: Hi­sto­risches Wör­ter­buch der Phi­lo­sop­hie, Ba­sel/Stut­tgart 1972, Hg. J. Rit­ter, . 303.

  4 Max We­ber, Wirtschaft und Ge­sellschaft, Tü­bin­gen ²1925, . 28. (­­ ­ , ­­ 1976, . . . ­­­, . 37.)

  5 ­, ­­ 477, ­­ 2005, . A. Vil­har/. ­­, 138.

  6 Hans Ro­bert Jauß, "Est­hé­ti­ljue de la ré­cep­tion et com­mu­ni­ca­tion lit­té­ra­i­re", u: Li­te­rary Com­mu­ni­ca­tion and Re­cep­tion, Innsbruck 1980, ed. by. . ­­­­/M. Na­u­mann/H. R. Ja­uss, . 15.

  7 ­, ­­ 477, , . 139.

  8 ­­ ­­ "­­­", "­­­" "­­­" ­­­ ­­­ ­ ­ ­ ­ ­ ­­­. Ma­u­ri­ce de Gan­dil­lac, La sa­ges­se de Plo­tin, Pa­ris ²1966, . 91.

  9 Augu­sti­nus, De Mu­si­ca, ­­­ ­: Kat­hi Meyer-Ba­er, "Psycho­lo­gic and On­to­lo­gic Ide­as in Augu­sti­ne’s de Mu­si­ca", u: The Jo­ur­nal of Aest­he­tics and Art Cri­ti­cism, Phi­la­delp­hia 1953, . 225.

10 Hans Ro­bert Jauß, "Der Le­ser als In­stanz einer ne­uen Geschic­hte der Li­te­ra­tur", u: Po­e­ti­ca 7, Am­ster­dam 1975, . 337.

11 ­ Jo­ac­him Njin­ckel­man, Ge­dan­ken über die Nac­hah­mung der grischischen Njer­ke in der Ma­le­rei und Bild­ha­u­er­kunst, Stut­tgart 1995, hg. L. Uhlig, . 39.

12 ­, ­, ­­ 1970, . . \­, . 175.

13 Ar­nold Ge­hlen, Ze­it-Bil­der. Zur So­zi­o­lo­gie und Äst­he­tik der mo­der­nen Ma­le­rei, Frank­furt am/M./Bonn ²1965, . 85.

14 Mar­shall McLu­han, Un­der­stan­ding Me­dia. The Ex­ten­si­ons of Man, Cam­brid­ge, Mass./Lon­don 1998, . 254. (­­­ ­­: ­­­ ­­­­, ­­ 1971, . . \­­, . 314)

15 Mar­shall McLu­han, Gu­ten­berg Ga­laxy: the Ma­king of Typo­grap­hic Man, Lon­don 1971, . 212. (­­­­ ­­­: ­­­ ­­­ ­­, ­­ 1973, . . ­­­, . 242.)

16 ­ ­ ­, ­­ ­ ­­ ­­, . ­­/­ 2003, . . ­/. ­­­, . 105–106.

17 ­ ­, " ­­ ­ ­­ ­ ­ ­­­?", : ­­ ­­­-­­ ­, . ­­/­ 2008, . . ­­­, . 431.

18 ­ ­­, ­­­ ­­ ­­ ­­­, ­ 2005, . . ­/. ­­­­, . 512.

19 Wal­ter Bi­e­mel, "To­mas Manns ’Za­u­ber­berg’ als Ze­i­tro­man", u: Ze­i­ti­gung und Ro­man­struk­tur. Phi­lo­sop­hische Analysen zur De­u­tung des mo­der­nen Ro­mans, Fre­i­burg/Mün­chen 1985, . 193.

20 Mic­hel Zé­raf­fa, "Phi­lo­sop­hie et lit­té­ra­tu­re", : Les Étu­des phi­lo­sop­hi­qu­es, Pa­ris 1963, . 166–167.

21 Ge­org Wil­helm Fri­e­drich He­gel, Phä­no­me­no­lo­gie des Ge­i­stes, Säm­tlic­he Wer­ke Band II, Leip­­zig 1937, Hg. J. Hof­fme­i­ster, . 568.

22 Ma­u­ri­ce Mer­le­au-Ponty, "Les éc­ri­vans en per­son­ne", : Par­co­urs de­ux 1951–1961, La­gras­se 2000, . 299.

23 Ma­u­ri­ce Mer­le­au-Ponty, Ré­su­mé de co­urs 1949–1952, Gre­no­ble 1988, . 156.

24 Cla­u­de Im­bert, "L’éc­ri­van, le pe­in­tre et le phi­lo­sop­he", u: Mer­le­au-Ponty et le lit­té­ra­i­re, éd. A. Si­mon/N. Ca­stin, Pa­ris 1998, . 76.

25 Ma­u­ri­ce Mer­le­au-Ponty, "Le ro­man et mé­taphysi­ljue", u: Sens et non-sens, Pa­ris 1948, . 54–55.

26 Ma­u­ri­ce Mer­le­au-Ponty, "Le lan­ga­ge in­di­rect et les vo­ix du si­len­ce", u: Sig­nes, Pa­ris 1960, . 59.

27 Was­sily Kan­dinsky, Über das Ge­i­sti­ge in der Kunst, Mün­chen ³1912, . 15.

28 Ma­u­ri­ce Mer­le­au-Ponty, Le Vi­si­ble et l’In­vi­si­ble, Pa­ris 1964, . 282–283.

29 Ma­u­ri­ce Mer­le­au-Ponty, "L’œil et l’esprit", u: Les temps mo­der­nes, Pa­ris 1961, 184-185, . 224.

30 Alp­hon­se de Wa­el­hens, Une phi­lo­sop­hie de l’ambiguté. L’exi­sten­ti­a­li­sme de Ma­u­ri­ce Mer­le­au-Ponty, Lo­u­vain 1951, . 374.

31 Mic­hel He­nry, "Art et la phé­no­mé­no­lo­gie de la vie", : Auto-do­na­tion. En­tre­ti­ens et con­fé­ren­ces, Pa­ris ²2004, . 201.

32 Eli­a­ne Esco­u­bas, "Be­i­trä­ge zur Phä­no­me­no­lo­gie der Kunst", : Phé­no­mé­no­lo­gie fran­ça­i­se et phé­no­mé­no­lo­gie al­le­man­de, Hg. E. Esco­u­bas/ B. Njal­den­fels, Pa­ris/Of­fen­burg 2000, . 497.

33 Cla­u­de Le­fort, "L’idée d’ ’être brut’ et d’ ’esprit sa­u­va­ge’", : Les temps mo­der­nes, Pa­ris 1961, 184-185, . 285.

 
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