Drama Mesterul Manole De Lucian Blaga Pdf 65 ⮞

Drama Mesterul Manole De Lucian Blaga Pdf 65 ⮞


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Drama Mesterul Manole De Lucian Blaga Pdf 65

blaga’s philosophical outlook differs from that of existentialism and phenomenology. he was not as concerned with problems of personal autonomy and freedom as with the fate of the world and mankind. what he did discuss was the role of the individual in a world in flux.

like heidegger, blaga was interested in the philosophical dimension of literature, but he also considered that poetry was far from being a methodical or even a systematic enterprise, to which one should devote oneself. literature can and should be enjoyed as a form of aesthetic contemplation, but it has also an educational dimension. thus, one can learn from it, but one can also learn how to transcend the world.

somewhat like heidegger, blaga was opposed to the extreme subjectivism of existentialism. he wrote that the human being is by nature a creature who is unable to live by himself and who has to live in relation with other human beings. he stated: “human life is a life in communion, that is, we all live in a common world.”

blaga’s philosophy has both a personal and a social dimension. personal, because he believed that the human being cannot live without the support of a community, which is a structure necessary to protect him from the threats of his own existence.

blaga’s philosophy is characterized by a concern with the role of language in human life. he was interested in the problems that language creates and in the ways in which it shapes our experience of the world. for him, language was the key to understanding the being of the human being.

he opposed the linguistic philosophy, which he considered too static and too impoverished in its concepts. he held that language is a mode of communicating and is never a complete statement of truth. blaga considered language to be a structure which allows the human being to participate in the “communion of language” and he thought that the human being cannot exist outside language.

to find out the state of the matter, we have to analyse the circumstances in which this ancient mythic scenario is unleashed. if there is an important fact that the old myths describe the state of the world, as well as people’s condition, the birth of tragedy, as the awareness of the human condition, is an important fact that defines the form in which the gods (understood as the mnemonic force with which man react to the cosmos) react towards man. that is why we can say that the ancient myth -based mythic figure is the first mythological character and that the original phenomena that we may call the roots of tragedy are in the mnemonic force that the gods received from him. the gods are responsible for the primordial drama (as they are responsible for the world). they placed the first mythic figure, the source of all the later ones, among them. he is the first mythic character, the first tragic one because he was the first one affected by the pain of the gods, the first one who had a spiritual perception of suffering that makes him bear in himself the mnemonic power that the gods received from him. that is why the gods are the first mythic figure or the first myth. in other words, that is the reason why the ancient myth was the first mythic character. he is also the first tragic character since he is the first one who carries in himself the mnemonic force that the gods received from man. the gods are responsible for his condition. and everything (outside him) is also responsible for his condition. thus, the first tragic figure is the first mythic one, because he is the first one who has the soul of the gods. that is why, we can say that the ancient tragedy is also the first myth.
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