The present study aims to demonstrate how the analyses by Nietzsche, Simmel and Benjamin of the tragic phenomenon may teach us how to cultivate the tragic fabric and to live with the systemic soil that nourishes it, in order to create abilities to cross over the cores or tragic occurrences and to transform afterwards the respective memories into forms of narrativity, articulated in a sequence thread. The perspective deformations of modernity (functional reason, authoritarianism, anthropocentrism), imposed by the contingency of the present societies, may be in this way critically compensated by the understanding of the tragic fundament that is inherent to human existence.

The present text deals with the relation between the consolidation and the development of landscape-painting and the concept of landscape during the 19th century and the catabasis of a certain economy of disposition until our days. The process of the transformation and overcoming of landscape-painting reflects the decadence of an entire epoch, influencing the introduction of the dispositions into philosophy, as well the initiation of a new philosophical discipline, the Philosophy of Landscape.

This essay aims to examine how Thomas Mann reinterprets, in the novel “The Magic Mountain”, Nietzsche’s view of the world expressed in “The Birth of Tragedy”. The Olympic world becomes in the novel of Mann, a sanatorium where the death drive controls everything. Several interpretations for this ironic reading of the magic mountain symbol are offered, in particular the idea that death must not hypnotise us, a major theme of “Snow scene” of the novel.

In Philosophy of Money (1900), money is a permanent splitting liberation and fluidification, until it takes any form through equalizing in quantity all qualities it bounds to. This process also happens: in objects, more and more ephemeral and independent from man, leading to an objective culture that gets farther away; and in subjects, exposed to a continuing splitting process, thereby gaining a negative freedom with no properties and purpose. This menaces man’s individuality which is neither an isolated subjectivity nor an agglutinated objectivity. In 1911, Simmel describes human life as a tragedy of culture, an attempt to contain the living matter creating successive forms that, once created, begin to drain its contents. This view was already acknowledged in the Philosophy of Money as the tragedy of freedom. By only using money as a means, acting on positive freedom, we overcome successive resistances (non-freedom forms) and advance to our individual purpose.

In this article, we’ll briefly present Simmels Philosophy of Love, based on three texts: On Love (A Fragment), Eros platonic and modern and Fragments and Aphorisms, texts published in 1921/1922. In the final part of the article we will analyze the idea of the tragic in the philosophy of love. In love, as in other movements of the spirit, there is a trend to erase individuality, but love arises only when aroused by it. Modern love is fundamentally individual, and simultaneously it cannot accept the insuperable character of this precise individuality.

This article seeks to present, in its most general terms, the question of the tragic silence and its function within the analysis concerning the Greek tragedy in The Origin of German Tragic Drama, which was written by Walter Benjamin. For this purpose, we turn to two sources related to Benjamin’s analysis: The Star of Redemption, by Franz Rosenzweig, and The Birth of Tragedy, by Nietzsche. However, in addition to the two other thinkers, Benjamin thinks about the issue of the “tragic silence” from the confrontation between “ambiguity” and “paradox”, between “myth” and “history”, in such a way that silence is a means of resistance: while expressing the guilt of the hero, what you see is his/her “silent suffering”, and, instead of being found guilty, the gods themselves are the ones who must recognize their guilt.

It will never be too much to remember that experience is one of the most important concepts on Benjamin’s thought. It underlies his analysis of the history and also supports his critical theory of literature and has many branches, above all in his texts after 1930. His text “The Image of Proust” (Literarische Welt, 1929) develops the concept of involuntary memory, which explains the question of auratic image in the work of Proust, obtained by the process of rememoration and also explained by the contribution of Freud’s studies about the traumatic shock and its consequences on the perception’s conditions of the contemporary man. These conceptions led Benjamin to a deep thought about the way how shock and rememoration can be articulated in order to create a new historical vision, individual and collective. We examine here, in the fields of the arts, literature and history, how this articulation can defines a new conception of experience and the possibility, or not, of the transmission of the culture, in a world where, as Kafka said, “the tradition became sick”. The question is: will rememoration, this Penelope’s web, be able to operate the rescue of the historical tradition? And which tradition are we speaking here about? What does rememoration mean?

Ladyman and Ross’s Every Thing Must Go is a challenging text. In order to ascertain its significance, attention will be focused on their idea of Scale Relative Ontology. To do this their conception of Ontic Structural Realism will require elucidation. Its implications for Scale Relative Ontology will be explored before considering the way Scale Relative Ontology can be cast through three possible dimensions: the cosmological, the ordinary middle-sized, and scientific perspectives. In exploring the latter perspective, and applying insights derived from Peirce’s philosophy, their defence of Scientism will then be considered. In this way three different senses can be distinguished through which this doctrine can be presented, before examining what kind of Scientism they advocate and thereby its adequacy.

The problem concerning the ‘individuation conditions of musical works’ is pressing and actual in the metaphysical discussion, in the philosophy of music. In this essay we address two entirely different perspectives: ‘timbric sonicism’, as formulated by Julian Dodd and ‘instrumentalism’, as sketched by Stephen Davies. We attempt to show that there are strong reasons to consider that the objections to anti-instrumentalism and anti-contextualism, derived from the sonicist formalism, support ‘instrumentalism’ as a plausible answer to the set of conditions, requisites or essential properties in the determination of the entities that are well-formed musical works.