首页> 外文期刊>H-ermes. Journal of Communication >Immagini di pensiero: la foglia, il denaro e i passages. Per una ricerca del principio formativo dell’immaginario = Images of Thought: the Leaf, the Life and the Arcades. For a Research of the Generative Principle of Imaginary
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Immagini di pensiero: la foglia, il denaro e i passages. Per una ricerca del principio formativo dell’immaginario = Images of Thought: the Leaf, the Life and the Arcades. For a Research of the Generative Principle of Imaginary

机译:思想的图像:叶子,金钱和段落。寻找虚构的形成原理=思想图像:叶子,生命和拱廊。研究虚构的生成原理

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Images of Thought: the Leaf, the Life and the Arcades. For a Research of the Generative Principle of Imaginary. The main aspect of our imaginary is the variety and the quantity of phenomenon that characterizes our everyday life. This fragmentary scenario makes it tough to consider every element as a part of a unique imaginary. However, we can take into account some classic works in order to consider different phenomenon manifestations of a unique generative principle. The aim of this paper is to examine the works of Goethe, Simmel, and Benjamin, considering that they have in common the capacity to assemble multitude in a single image of thought. In fact, although they start from different field of research, they examine the empirical world as an expression of a unique generative principle. Therefore, for Goethe leaf is the “original form” of the botanical world. While, in Simmel’s work life is the “central idea” of the modern daily life. Finally, Parisian Arcades are for Benjamin the origin of the modern capitalism. Thus, the leaf, the life, and the Arcades, are meaningful examples to focus our attention on the opportunity to discover a synthetic image of our imaginary.
机译:思想图像:叶子,生活和拱廊。对于虚构的生成原理的研究。我们的想象力的主要方面是代表我们日常生活的现象的多样性和数量。这种零散的场景使得很难将每个元素都视为独特虚构的一部分。但是,我们可以考虑一些经典作品,以考虑独特生成原理的不同现象表现。本文的目的是考察歌德,西梅尔和本杰明的作品,因为它们具有共同的能力,可以在单一的思想形象中集合众多的人。实际上,尽管他们来自不同的研究领域,但他们将经验世界作为独特生成原则的表达加以考察。因此,对于歌德来说,叶子是植物世界的“原始形式”。而在Simmel的工作中,生活是现代日常生活的“中心思想”。最后,对于本杰明而言,巴黎拱廊是现代资本主义的起源。因此,叶子,生活和拱廊是有意义的例子,它们使我们将注意力集中在发现我们虚构的合成图像的机会上。

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