By George Steiner
El hallazgo ficticio de un pergamino dañado por el fuego en las ruinas de una villa de Herculano invita a George Steiner a interpretar el sentido del texto unique, que algunos atribuyen a Epicarno de Agra. El legado de este supuesto moralista y retórico del siglo II a. C. se confunde con lo que podría ser una síntesis de los intereses intelectuales y vitales del propio Steiner.
Jugando con los angeles conjetura, George Steiner reflexiona sobre l. a. elocuencia del silencio (lo no expresado) en l. a. poesía y l. a. filosofía, las gratificaciones de los angeles amistad, el potencial de los angeles educación y l. a. rareza del talento, l. a. realidad ontológica del mal, los angeles omnipotencia del dinero, los peligros de l. a. religión, l. a. trascendencia de l. a. música y los angeles libertad de elegir l. a. muerte.
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The working philosophy is realism; the professed philosophy is the prevailing one, and it is this one which the artist thinks he accepts. The philosophy in either case only provides the background, for art is a personal product. It is more of a personal product than science, for instance. If one scientist had not discovered a particular law, another would have; and the occurrence of simultaneous discoveries in science is very common. But if Homer had not written The Iliad, Shakespeare Hamlet or Mozart the Requiem Mass, it is extremely doubtful whether these masterpieces would have been written.
But when he is at work everything for him seems to come right again. He enjoys the originative process with its ecstatic moments of insight and he is producing something outside himself that will stand without him. The work of art seems to 38 THE ART OF THE PHILOSOPHY OF ART the artist to grow in his presence. As he sits before it each day and connects himself up with it, the increase continues. What he is doing is tying into his unconscious mind the lines from the unfinished work, from the armature, the canvas, the music paper, the typewriter, and then turning on the switch so that the current can flow.
3 * A shorter version of this paper was read at the meeting of the Southwestern Philosophical Society at Austin, Texas, November 23, 1969, and is published in the Proceedings of that meeting. 1 John Dewey, Art As Experience, New York, 1934, p. 45. See also Experience and Nature, Chicago, 1926, Chapter IX 2 Experience and Nature, p. 359. , p. 375. "Art ... " ACTION, PERCEPTION AND ART The vacillation seems to depend on Dewey's mood of the moment in regard to the illegitimacy of separations but the legitimacy of desirable distinctions.!
Fragmentos by George Steiner