Acerca Del Caracter Afirmativo de La Cultura
67
Herbert Marcuse !"#$"% '#( "%$)"*#$ %+,$-%*,./ '# (% "0(*0$% 1
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Reflexiones filosóficas sobre la cultura moderna desde la visión Positivista
Transcript of Acerca Del Caracter Afirmativo de La Cultura
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Fuente: Marcuse, Herbert: "Acerca del carcter afirmativo de la cultura". En Cultura y sociedad. Sur. Buenos Aires, 1967. Maquetacin: Fly Diciembre 2008 !
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antiken Bildung, Frankfurt a. M., 1935, p. 124 y ss. 8
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arlos
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Carlosvale recordar cmo el arte logra superar esta divisin que la razn impone entre lo material-sensorial y lo ideal-razonado. la idea del arte se configura, hasta Hegel, en la conformidad con una supuesta esencia fsica sensible, pero el impulso dado por el espritu ilustrado consigue justamente lo contrario a su objetivo inicial: mientras esperaba la separacin esclarecedora entre el dominio de la razn y el de la sensacin, su mirada detallada permite el re-encuentro de la naturaleza dual del arte que contiene ambos elementos en su ncleo. La concepcin del arte como vinculante con la esfera de un mundo 'superior' ha sido errada en tanto se le vincule con la pertenencia a una mejor familia. El arte no conoce de familias, no le interesan como entes esenciales. le interesa, s, su posibilidad de abrir puertas a otros mundos, que algunos han venido a llamar 'superiores', o 'trascendentes', pero tambin puede encontrar si realizacin en lo mundos 'inferiores', que de igual manera permiten trascender la barrera que impeda el conocimiento de algo. Por ello aceptamos que el arte est por encima del bien y del mal. Lo realmente importante de esta lgica operativa se encuentra en la transformacin de los dos opuestos, en la superacin de la dialctica. Si hemos de indagar en el extremo de alguna de sus dos lneas, eventualmente encontraremos algo novedoso, pero solo habr un arte digno de trascendencia histrica en el momento en que la obra logre elevarse sobre relaciones ineludibles entre lo material y lo ideal. Esta propuesta difiere de idealismo en que el idealismo es apenas uno de los extremos, que no considera en su operacin a su contraparte.
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.>!F(!QC&$#!&$(%(P&K!@;(@#>&(F#+J!U)#C)=K>!+#IO>!F(!)*(F!F(!!C$=L#$+(F=;(;! ;#! F(! S)*F&*$(TJ! 1(!&=I*(! A(%H(! #GC$#+(;! %*#>(! ))=#>)=(B!?*#!F(!@(M
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)=(! C$#;&$(+!?*#!+KF(!C#?*#X(!C($!C(! ))=#>)=(! M(!>)=(! #>E$#>&(! (! F;=L=;*!+=;! +*+! $#F()=#+! +;#! &(@%=Q>! (F!@(>#P#+! =;#(F#+J! Y(! >! >()=;Z=!F(!$#F()=K>!;#F!=>;=L=;*!#F!@#$)(;@#;=(&(![;(;#)#+=;(;#+! C#$+(F#+!+KF#>!=@C)=(!)!F!)!0=!F(!L#$;(;J!.>! &(>&! >#$! =I*(F! C($&=)=C()=K>! #>! #+$(F!;#F!S%=#>TB!(+H! &(@%=Q>!#>!F(!C$(G=+!)*F&*$(F!+#!)+!SL(F=L#$+(FJ!1(!L#$;(;!;#!*>! P*=)=;(;!;#!*>(!()9)=K>!@(!B!C&!?*#! =>$#+#! +*!C!#>!#F!C$;=L=9;*#>!?*#!+)!+*!#G=+>)=(J!S1(!)=L=F=N()=K>T!$#)=%#!+*!
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]+=;#$($D>!(?*H!F&>&=$!#F!))#C&! #@%($I;=;(!;#F!))#C&!#F!)*(F!#F!@*>9;(! &;)#C&! #GC$#9+=#+! &(F#+! )(FTB! S)*F&*$(! I#$@(9>(TB!(T\!)&$(C#!#F!@*>;;! F(!@#;=;(!#>!?*#! )&$(C#! F(!)*F&*$(!#>!&(>&!;=)A#$(B!+#!;=+&=>I*#!#>&$#!)*F&*$(!M!)=L=F=N()=K>!M!(?*QFF(!?*#;(!+ 5 Cfr. Studien ber die Autoritt und Familie, Scriften des Instituts fr
Sozialforschung, t. V, Pars, 1936, p. 7 y ss. 6 O. Spengler concibe la relacin entre civilizacin y cultura no como
simultnea, sino como una sucesin orgnica necesaria: la civilizacin 12
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es el destino inevitable y el final de toda cultura (Des Untergang des Abendlandes, t. I, 23a edic., Mnchen, 1920, p. 48 y sg.). Con esa re-formulacin no se altera nada en la valoracin tradicional de la cultura y la civilizacin, indicada ms arriba.
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.F!=>;=L=;*!#F!)N&(! )! L=$&*;! ;#! F(! >*#L(! =N()=K>! +!C*#L(!#G=I#>)=(!;#!E#F=)=;(;J!Y(!>&(>! #$(F=;(;#+! +*C#9$=! &(>&;=L=;*)=(B!;#!F(!+(&=+E())=K>! ;#! +*+! >#)#+=;(;#+B! M! +=&*($+#! =>@#;=(&(9@#>! E$#>!(! +*!S;#$@=>()=K>TB! E$#>!(! +*+! E=>#+!M!! +!#+!C!D@%=+! M! +(&=+E())=#+! =>;=L=;*(F#+! V*>! D@%=&! C$! )(C=&(F=+&(! )NK! (! FF#>($! )!)(;(!L#N!@(M&=;(;!;#!;=L=;*=E=)(! F(! C! ;#! *>(!>*#L(! E#F=)=;(;J! U#$! #+&@#;=(&(9@#>!+*!L(F=;#N!*>=L#$+(F!M(!?*#!F(!=I*(F;(;!(%+&$()&(!;#!F;=L=;*!F(!C$!)(C=&(F=+&(!)(! C#?*#X(! C($!;#!F
Carlos
Carlosno solo a la filosofa, sino tambin a arte se le ha cargado con estas tres dignidades. pero en la poca contempornea se ha hecho evidente de nuevo que el arte tambin puede surgir de lo falso, le malo y lo feo. Lo que con tanto esmero se ha pretendido mostrar en lustre como lo propio de nuestra poca, no es ms que la reedicin de lo que desde la poca de Platn ya haba sido identificado.
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- )#$J!0#!#+&(!@(>#$(B! =>EF*M#!#>!F1(! E=FB!#>!+*!C&=#+&
- M!(F!;;! ;#P(>! ;#! +#$F*#+&$(+! +#>+()=#+R! #>! F(!@#;=;(! #>!?*#!(;@=&(@9>&($#@)=;!(?*H!$#+=;#!F(!E#F=)=;(;!;#!F(!L=;(W!M!C)=(!)*(>&&(@(&*$(F#N(B! F(! A*@(>=;(;! M! &=>I*>(! ;)=(!A=+&K$=)(!;#! F(!+(&=+E())=K>!I#>#9$(F! ;#F! =>;=L=;*! #FF(! +#! #>9)*#>&$(>B!L#@(;(!+*C#$==9;(;!#>! #F!A! #+! ))#C&!;#F!A
- %$#!C($(!F(!$(NK>!M!F(!F=%#$&(;B!C($(!F&=;+&=>9&!M!;=(+! M! &!E=>R!S?*#!)(;(!*>!+#$!@! I(!)=;(;!;#!C#$+(+!F=%$#+!M!$(N(%F#+!#>!F(!?*#!)(;(!*>(!&=#>#!F(+!@=+@(+! C(B!?*#!(!&$(LQ+!;#! F(! F*)A(! )&$(! F(+! )=;)=@(!;#! &)=#+!+)*#>&$(! #>! +*!C$!@#)D>=)(!;#!+*!#G=+>)=(!(>=@(F!M!?*#!>=>I*>(! E#F=)=;(;!!?*#!QF!@=+@+&=>&
-
@=+@! @#;=()=K>! $$#>(F! !#>!$#F()=K>!=>@#;=(&(!)!&!F(!C!+*+!;$(@(+B!F!&(>!)#$)(!#F!*>&$#!#FF(;(!?*#!>#E(%F#J!.F!L#$+!F(!C$(P#+B! F=%#$(;!;#! F(+!C$=@#$(+!M!;#! F(+!OF&=@(+! )*#+&=#+!;#F!A! F(! +! #F! ($;;#+! E$(+#+B! &(>! F(! +&)=C#!M!#F!+=#$L!#>!*>(!;=+)*+=K>!)*M;=;(;!?*#!#F!($!$#9C$#+#>&(B! F(! C*$(! A*@(>=;(;! ;#! +*+! C#$+(P#+B! #+!=$$#(FW!#+!F!F(!$#(F=;(;!+#!L=L! (?*#FF! +*+! C$!QF!;(%(>!@#>
Carlos
Carlos
-
;!@*>;! F(! &$(>+E!;#F!!@($=(F!;#! F(!L=;(B!+=>!(FI)#!#>!#F! (F@(!;#F! =>;=L=9;*=;(;!+#!&$(>+E!*>!#+&(;$>;(;B!F(!%#FF#N(B!+#!)L=#$9>! #>! )*(F=;(;#+! ;#F! (F@(R! )+=K>! ;#! &&;#N(! ;#! &&$(!#F!!=@C*#+&! =>$C$#&(! F(+!L#$;(;#+!;#! F(!A*@(>=;(;!);*)#! (!*>!C!C+&=&*)=#+! )(+J! 1(!)*F&*$(!A(!;#!;=I>=E=)($!F*#L#$(B! F(! )*F&*$(! #F#L(! (F! =>;=L=9;*! F=%#$($F&! #F#@#>&+&=&*&=L)#C&! C($! ;#! F(! ;#E=>=)=K>! ;#! )*F&*$(B! )J!,FE$#;!e#%#$!+#!F=@=&(!&(>!+KF+#)*#>)=(!;#!*>!))#C& 24
- &*$(!L=I#>!;#+;#!A()H(!M(!&=#@C;#R!Sf)*F9&*$(gJJJ! #+! +=@CF#@#>!(?*#FF!#+C=$=9&*(F![(>H@=)(\B!?*#$#$!#+C=$=&*(F![(>H@=)! f+#$gB!;#!*>! f(F@(g!+=&*(;(!C)=(! M!?*#! #>! +*! (ED>!;#! #GC$#+=K>!M! #>! +*!?*#$#$!>(F=;(;!M!F(!*&=F=;(;JJJTJ!S0#!(?*H!+*$I#!#F!))#C&!M! F=%#$(9)=K>!;#!FH@=)!F(!+*%+&(>)=(!#G=+>)=(F!#+C=$=&*(F!M!@($=(FTJ!#!.F!(F@(B!?*#!+=$L#!;#!%(+#!(!#+&(!))#C9)=K>B!#+!(FI=+@)=(!;#F!(F@(!A(!#+&(;
-
&+(@=#>&+B!#+CH$=&*\B!#+&DB!#>!+*!C#)*F=(9$=;(;!(*&B!(?*#>;#!#F!+#$!;#!F(!@($=(B!)$C$#&($!@($=(FH+&=)(@#>!(F!M!&(>&=@(\!#>!&(>9+T![(@!#F!)#$#%$!>;#$!;#! F#$9L=>#$!*>! (=$#!@*M!E=>!(F=#>&(!#+CH$=&*!L=&(FTJ!$!!
,! C#+($! ;#! #+! $#+=;*@($=(FB! F(! >;#>)=(! ;#! F(!=>$C$#&()=K>!#+! )F($(R! #F!M!#+CH$=&*! [C#>+($B!)! F(!@#;=;(! #>! ?*#! >+($B! )! )=;(;#+!?*#!+#!F#!(;+)$=%#>!C#$>#)#>!#>&)#+!(! F(! $#+!#G>+(J!%!YB! +=>!#@%($I!;=+! F(!@($=(J!.F!(F@(!#+!*>!$#=>$@#;=(;&$#!F(! =>)@+&=&*=$D!#F!(F@(R!F&=@=#>&
- )N(V!;#>9&$!#+!)($()$H+&=)(R!#G=+!+=>!C&!C! )&$(! ;#! F(! =>)F*+=K>! ;#! F(! C+=)\R! F(! C+=))! F*I($!C#?*#X! F#+!;#!#+&*;=#+!#)K@=)(+B!C@#>!$=)(!)(!;=+)=CF=>(B!C#$! )! (FI*>(!!*>!A*Q+C#;! #G9&$(X! +#! F#! ))#;#! (+=F! &=#@C)*#>&$#! +*! C$(! (>&$!()#$)(!;#! #+! SA*Q+C#;!#G&$(X!;#@(+=(;
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
- F!CN($!F(!C+=))=(F@#>! C! #+CH$=&*TJ!)! -*(>;! +*!
-
(?*#FF!>!S(F@(T!S#+!=>())#+=%F#!C($(!F(!F*N!;#F!#+CH$=9&*B!C($(!#F!#>>;=@=#>&L#+&=I()=K>!#@CH$=9)(JJJ!.+!@D+! ED)=F! +#))=($!M!(>(F=N($!*>! @(!;#!^##&9A!@#;=(>! #F! %=+&*$H! M! F+(@=#>&;=)(>!&(>!+KF! $#+C#)&)&$K!+*!C$=@#$(!#GC$#+=K>!C!F(!F=$(9&*$(!;#F!/#>()=@=#>&L#+&=I(;(!;#! *>!@*>;;#>! (?*#FF(+! #G=I#>)=(+! )*M*>)=!F(!>*#L(!+ 21 O. Spengler, op. cit. p. 406. 22 Es caracterstica la introduccin del concepto del alma en la psicologa
de Herbart: el alma no est en ninguna parte ni en ningn lugar, no tiene ni disposicin ni capacidad para recibir o para producir algo. La esencia simple del alma es totalmente desconocida y lo ser siempre; no es un objeto ni de la psicologa especulativa, ni de la emprica (Herbart, Lehrbuch zur Psychologie, 150-1553; Smtliche Werke, publicadas por Hartenstein, t. V, Leipzig, 1850, p. 108 y ss.
30
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@*>;!;#F!=>;=L=;*#$(B!#F!$#=>$=$Q+!C;=L=;*(F#+B! =>)&)#+! ;#+)*=;(;(+9B! ;#F! (F@(B! E=&*;!;#! F(! )*F&*$(!(E=$@(&=L(B! #+!;#)=$B!;#+;#! F!(>H@=)(!+#!C$#+#>&(!)(&*9$(FT!A(!?*#;(;$>!#F!@*>;J!1(!=N()=K>!;#!#+!@*>;!))=(!#)K@=)(!#!A=N;#$! ;#F!@#$)(;! ;#! +*+! >#)#+=;(9;#+J!-!#F!(F@(B!F(!)*F&*$(!(E=$@(&=L(!C$!)&$(!;#!F(!)!C($(!)(#$B!+=>!#@%($I!#FF(J!.F!(F@(!#+!C$ 23 W. Dilthey, al hablar de Petrarca. En: Weltanschanung und Analyse des
Menschen seit Renaissance und Reformation, Gesammelte Schriften, t. II, Leipzig, 1914. p. 20. Cfr. el anlisis de Dilthey, del paso de la psico-loga metafsica a la psicologa descriptiva y analtica en L. Vives, op. cit. p. 423 y ss.
24 Loc. cit. p. 18. 31
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26 Herder, Abhandlug ber den Ursprung der Sprache 2a parte, 4a ley
natural (Werke, t. V, p. 135). 33
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34
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
-
C)=C=D$?*=)&$(9;=))=K>!L*#FL#!E(F+(!F(!E=;#F=;(;!#G)F*M#>!@*&=F(>;+=%=F=;(;B!F=E=#+&(!#>!F(!()&=&*;!A=CK)$=&(!;#!F(!C#?*#X(!%*$I*#+H(J!
1(+!$#F()=#+!C*$(@#>!C$=L(;(+!&(F#+!)=)(+!#>!F(+!?*#!A(!;#!)+#$L($+#!#F!;=@#;=(&!&!&$(>?*=F=N(;;#>!;#!F(!$#(F=;(;!A=+&K$=)(B!C*#;#!+#I*=$! =>)KF*9@#B! (*>! #>! *>(! $#(F=;(;! =>P*+&(J! 1(+! (F#I$H(+! ;#F! (F@(!+!@#>&;#!#F!#+CH$=9&*!&=#>#!?*#!);#>($B!#F!(F@(!C*#;#!(O>!$#E*I=($+#!#>!F(!)+=K>J!.F!)&I*=$!#>9&$#! F(!F(!! #F! (F@(! +#!$#))=F=(>!$DC=;(@#>!F(+!+E! #>! *>=;(;! S=>$>(TJ! Z=! #G=+! *>! (F@(!ED*+&=)(B! &(F! M! I#$@D>=)(B! #>&)#+! C#$>#)#! (!#FF(! *>(! )*F&*$(! ED*+&=)(B! &(F! M! I#$@D>=)(B! M! #>!#+! )(+!+KF=E#+&()=#+!;#!#+&(!(F@(!M!+*+!)$(+(+!!F(!A#$@=;(;!
37
- ;#! F(! )*F&*$(J! 1(! >(&*$(F#N(! ))=F=(;!)*(>;L=#$!#>!#F!7$I(>!;#!F(+!)=#>)=(+!;#F!#+CH$=&*B!+=>!#+&($!%(+(;(!#>!*>(! (!I$(>!(E=>=;(;! )!#F!A=+&
- )!;#!(?*#FF&(J!U*#;#!&$(>+E(!@(F(!)(*+(!#>!*>!+*%F=@#![#F!)(+
-
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
40
Carlos
Carlos
Carlos
Carlos
Carlos
Carlosesta es otra forma de afirmar el carcter desinteresado del arte
Carlosafirmacin del carcter peligroso que puede llegar a portar
Carlossi al principio la belleza se constituy en el medium entre la realidad y el arte, su papel heredado del mundo antiguo ha venido cediendo paso a la instauracin de la experiencia esttica como tugumento entre estas dos instancias que an lucen separadas.
-
C$K@#>9)! ;#! F(! %#FF#N(B! +=>! #F#@#>&+&=&*&=L)=(J#*!Y!+#IO>!]=#&N+)A#B! F(!%#FF#N(!;#+C=#$&(!F(!S;=)A(!(E$!;#!F(!%#FF#N(!;#!h(>&!)! ;#! (I$(;$#+(;#! C$#! ?*#! $()=(F=N($! M!$#I*F($! F(! E#F=)=;(;J! 1(! %#FF#N(! #+B! #>! L#$;(;B! =@CO;=9)(R#"!@*#+&$(!(?*#FF!M!?*#!(!F(!@(M#I(;!)!#F!=;#(FB!#>!#F!D@%=&9+=%=F=;(;B! F(! %#FF#N(! +*E$#!;#! F(!;#+L(F#$(F!;#!#+!D@%=&H@=9)(+! M! #+C=$=&*(F#+B! F(! %#FF#N(! C*#;#! +#$! I)=(!&$(>?*=F(B!+KF!*>!)(@C!;#9F=@=&(;;#$(!*>;(! C! %$#L#! &=#@C!;#!@(>>#$+#!;=+)=CF=>(;(+J!1(! F=%#$&(;!;#C#>;=K!
30 D. Hume, A. Treatise of Human Nature, libro II, parte 1, seccin VIII
(ed. L. A. Selby - Riuge, Oxford, 1928, p.p. 301). 31 Nietzsche, Werke, Grossoktavausgabe, 1917, t. XVI, p. 233 y t. VII, p.
404. 32 Goethe, Faust II, Phorklas: Alt ist das Wort doch bleibet hoch und
wahr der Sinn. Das Scham und Schnheit nie zusammen Hand in Hand Den Weg verfoigen ber der Erde grunen Pfad (Werke, Cottasche Ju-bilumsausgabe, t. XIII, p. 159). (Viejo es el dicho pero an encierra Una verdad lozana cuando reza. Que juntos la vergenza y la belleza Nunca van por la senda de la tierra.).
41
Carlos
Carlos
Carlos
Carlos
Carlos
Carlos'Nietzsche sabe que todo placer es an mtico' (Horkheimer y Adorno, 152), por ello el arte amenaza con desruir el ideal de la ilustracin. Frente al caracter esclarecedor del 'enlightment', el arte re-instaura el dominio de la sombra, de lo indilucidable, aunque esto no quiere decir que el arte caracterizable como portador de engao.
-
;#+;#!*>!C$=>)=C=(;(+!>!*>!+#$L=)=@#;=(&(FB! +=>! *&=F=N(;(+!@#;=(&(@#>B! )!;#!CF*+L(FH(!C($(!#F!@#$)(;A*@(>(;&\W!#>!)(@%=+K!?*#!F(!*&=F=N()=K>!;#!+*+!)*#$CF=I#>)=(!C($(!#$!*>(!@(M(>)=(B!#$(!#F!#P#$)=)=(&*$(F!;#! F(!F=%#$&(;J!-+#)*#>@#>B!F(!)!#>!F(!ED%$=)(!+#!)L=$&=K!#>!;#%#$!@+E!SC$TJ!!
.>!#+&(!+! F(!);=)=K>!;#!F(!I(>(>)=(!M!;#F!C!#@%($I;#>)=(!+#!$#(F=N(! #>! #F!@#;=*@!;#! F(! F=%#$&(;!(%+&$()&(J!1(!L#>&(!;#F! &$(%(P!;#F!C(! #>! +HB! +#C($(;(! ;#! F(+!E*>)=#+!+!L(F=&*($=#$!C*$&*($=!L#N!;#!=>+&$*@#>&(!;#!F(+!$(H)#+!+;(@#>&(F#+!;#!F(!=;#&!F
- E=)()=K>!M!+*!$#+C#!L=&(F! =@C)=(!C($(!#F!+=+9@(J! ,+H! C*#+B! )*(>;! &(>&=E#+&(9)=K>!)=K>!+#G*(FB! +#!)L=#$!#>!@#$)(>)H(B! C$! $#+C#)&B!+=>!)! $#+C#)&!;#!CF()#$!?*#!>#N)(B!C#!+! #@%($I+&=&*M#>B!#>!#+!)(+!$#)*#$;=&!*>(!)!*>(!)(!>*#L(!E#F=)=;(;J!.>!#F!)(+B!#F!AE(!+! F! F(+! $#L=+&(+B!#+&(! E$=L*>)=(! F(! (F#9I$H(!C!;#F!=;#(FB!(!F(!?*#!#F!A;=;(;B!)L#$&=;(!L#$;(;#$(@#>9!#>!+*P#&)*F()=K>!)!#F!=;#(F!(E=$@(&=L;(!#G=+>)=(!+(%=(B! +=>! $()=(F=N()=K>!(FI*>(!M!+=>! #F! @#>&=@=#>&;&=;U#$! F(! )*F&*$(! (E=$@(&=L(B! F=@(;#)#>!(!F(!)*F&*$(J!,F!=I*(F!?*#!&
-
L(F!F(!)*F&*$(J!-!=>)(C()#+!;#!)=@(F! ;#! +*! +#$B! );#$!M!I#$(!@D+!>JJJ!-*(>;! #F! (F@(! +=>!)*(F?*=#$!&)#+!S#F!I)(>&! #F!@#;=*@!;#! F(! %#FF#N(! =;#(FB! #>! #F! ($B! C*#;#! $#9C$!&(>&!#F!&!F!F(!E=F!#F!@D+!(FFDJ!1(!%#9FF#N(! =;#(F! E*#! F(! E#$(B!#F!($!+#!)L=$&=K!#>!C$#)*$+(!L#$;(;!C(!))=%=K!F(!![c\!%#FF#N(!M!L#$;(;!#>!F(! =;#(! ;#! *>(! #;*)()=K>! #+&Q&=)(! ;#F! IQ>#$Wolff, Jena, 1910, p. 151 y ss.). 44
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&(;TJ#$!Y!#>!+*!C+&F#$T! [1!#>&$#!F(!)*F&*$(!#G=+>!M!F(!E*&*$(B!#>!F+!L#$+A#=&!A=#$!#@C9E*>;#>B! r=$;! #=>+&! (F+! e(A$A#=&! *>+! #>&I#I#>I#A>TJ!!0#! ()*#$;! F(! @#;=;(! ;#! F(! L#$;(;! +!C#$@=&=;(!M!%(P(!E#F=)=;(;!$#(F=N(;(B!#F!($!#+B!;#>&$&(&=L=K!(+HR!S-*F&*$(R!;=($=)=(!;#!F(!L#$;(;!;#!F(!!+=>!C#>*$=(+R!(*>!#>!QF! C*#;#! C$;J!U#$!*>!@*>;#!?*#!+#$!+=#@C$#!*>!)+*#F!%#FF!F(!)(;#>(!=>$@=>(%F#!;#!;#+I$()=(+J! .F! I! ;#! *>! #C=++=IJ!Y!;(;&;=L=;*!;#F!=>+&(>B!>(;=#!?*#!>!#F!@=+@&+=9
34 Uber die asthelische Erziehung des Menschen, final de la segunda carta.
Lo que sentimos aqu como belleza, se nos dar alguna vez como ver-
dad. 35 Nietzsche, Werke, t. X., p. 245. 45
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- ;(!+(!@(>#$(! &(F!?*#!#>!QF! )$#(!$##>)&$($! +*+! (>A#F#)#+=;(;#+! ED)&=)(+! )#$!(C($=#>9)=(! ;#! +(&=+E())=K>! ()&*(FJ! .+&(! #+! F(! $#(F=;(;! (C($#>!?*#!>=!#F! E=FK+!C*#;#>!(F)(>N($W!+KF!#>!#F!@#;=*@!;#! F(!%#FF#N(J!qI(X!;#!F(!%#FF#N(R!S.F!#+CH$=&*!A*@(>)*#>&$(!#>!*>(!+=&*()=K>!#+&*C#>;(!)*(>;$(B!)*(>;;+(FN(!*>!;
-
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48
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
-
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51
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-
$#>J!U#$>#)H(B!C)($>()=K>!A*@(>(9!(!F(!=;#;=L=;*!;#!&;=L=;*L#$&=$+#!#>!+#X=N($! +*!@*>;! &! +*+! >#)#+=;(;#+J! t(d&(;(F=;(;! #>! +*! ))#C&=L#$+(F#T! ;#F! $#>()=@=#>&;)=(!(F! =>;=L=;*(F=;(;!+#!?*#$H(!;#+&(9)($!;#!#+&(!@(>#$(!?*#!&C(+(;&(9F=;(;!>!S(F@(!%#FF(T\B!+=>!#F!CEF*#>)=(B!F(!E(@(!9*>!D@%=&! #F! )9)#C&(F=;(;B! $#C$#+#>&(&=L&B!M(!>(!;#!#+!()&=L=+@+=L)=(! +KF! &(>&H@=);#C#>;#>)=(!;#F!@#)(>=+@(9&*$(F#N(T!?*#!A(!;#!)($()$=N($!+*!#+#>)=(B$*!#+!+KF(!F=%#$&(;! =>F=I=%F#! ?*#! ()#C&(! F(+! )=$)*>+&(>)=(+! L=&(F#+!;(;(+!)(!+#!L*#FL#!@*M!C#?*#X&$(+!?*#!#F!;#!
39 Die Kultur der Renaissance in Italien, 11a ed. de L. Geiger, Leipzig,
1913; especialmente t. 1 p. 150 y ss. 40 Kant, Kritik der praktischen Ternunft, 1a parte, libro I, captulo 3, Wer-
ke, t. V. p. 95. 52
-
F(! $#(F=N()=K>! =>$>(! #+! @*M! I$(>;#J! .F! =>;=L=;*;=;($+#B! (>! &! F! C($(! #F! (&(?*#! ;#F! @*>;(!FH>#(!;#!$#&(I*($;=(!%=#>!C$9J! .>! +*! =>$=! &(>&(! Q&=)(B! C;=L=;*B!M(!>?*=+&(B!+=>*>)=(@=#>&J!.+! #F!?*#!#>9)*#>&$(! +*! E#F=)=;(;! #>! FJ! U#$! #>! #+&(!E!#@C#!*>!@&!OF&=@(! =>+&(>)=(!+#!;=L=;*I*F($=N()=K>!)*F&*$(F!;#!F;=L=;*)#$$(;! +H! @=+@! #>! +H! +*!C$B! )B! )! &!;#$@=>(;;=L=;*(!+=I(!#G=+&=#>;!F(!@#;=;(! #>! ?*#! >Goethe de la siguiente manera: Man mkelt and der Personlichkeit, ver-nunftig ohne Schou: Was habt denn ihr aber was euch erfrent. Als eure liebe Persnlichkeit! Sie sei auch sie sei. (Zahme Xenien, Werke, t. IV, p. 54). (Uno se queja de la personalidad, razonablemente, sin respeto. Qu tenis, sin embargo, que pueda alegraros, salvo vuestra bienamada personalidad, cualquiera que sta sea!).
53
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