This article examines the place of literature in the ensemble of Merleau-Ponty’s research, comparing the function it fills in the economy of his thought to the role other practices and other disciplines such as biology and psychology play in his philosophy. Each of these “discourses” offered Merleau-Ponty access to something comparable to a common phantasmatic substance, a common metaphorical stability of Being, that the biologist, the writer, and the psychoanalyst work on, each in their own writings and categories. But here emerges also a major question. To what extent does the language of Proust reveal itself up to the task of writing the phantasm, to what extent does it respond to this challenge? In what manner are the limits of his language, which are perhaps the limits of language itself, an obstacle to his project? And what is it that permits, at times, the sciences to obtain greater success in engaging in this way? Was it precisely the structure of metaphor that hindered Proust in truly writing encroachment, and the dimension of metonymy was, on the contrary, that in which a certain scientific discourse succeeded at setting itself up on the first try? If, finally and especially, metonymy was the very heart of metaphor, with more or less success touched by one or the other of the “regional” writings of the phantasm?

The purpose of this paper is to study the role of language in the philosophy of Merleau-Ponty. In particular, our analysis will concentrate mainly on The Prose of the World and, following that, on the notes about the novels of Claude Simon. Thus, we will attempt to discern the specific nature of such language, analyzing its sources, exploring its limits, and examining in detail its potentialities.

In the text of his lecture on “Film and the new psychology,” Merleau-Ponty introduces a singular and decisive reading of filmic art, approaching the notion of “rhythm.” This notion engages in a reflection on image and on the relation between the image and the gaze of the spectator at the cinema. In this article, Merleau-Ponty’s actual usage of this notion and the meaning of this operation will be read starting from the reflection of Émile Benveniste on rhythm as well as certain notes presented in Merleau-Ponty’s courses at the Collège de France on The sensible world and the world of expression and Research on the literary usages of language, that follow some years after the lecture.

The Byzantine art can also be called the Christian art of East, between 4th century in which arose and 14th century in which the sunset began. In the 6th century the true grandiose of the arts was created by the Byzantine. This art maintained these classic traditions for various centuries and the renaissance of 10th and 14th centuries has had above all the persistence and the awakening of the ancient spirit. In the second half of the 13th century, we assist to the decline of the Empire of East, the advance of the invasion of Muslims and the separation from the Byzantine influence.The western culture is based on the reason of divine origin. The art, beyond the allegorical meaning, becomes technically constructive. The artist today difficultly succeeds to make a face human, an expression of the man-God. We are in full industrial age, from which we achieve egoism. Over the dogmatic contrasts between the two churches, the union is felt in spirit, and also in the spirit of art. The historical schism does not have the total force to separate; the re-unification of the Christian world is an aspiration of all the Europeans today.

This distance biographical will follow however one via little various from that in way immediate can to be meant like biography, because it will try to avoidthe fall in that Nietzsche calls “error of the biographers” and that she will try not to stop itself on the personal identifying data and neither to inquire around to the psychological configuration of the author, but will more rather follow the thread of the thought expressed in its works. The written ones of Nietzsche, as we have already pointed out, are from meaning like integer, also that in aphoristic shape that represent a fragmentary thought.The living as it operates has been taken in consideration, at first, from the fact that the works rise from the work that is the living, which constitute the privileged field of the creation of the artist hour this living have been looked at to approach the phenomenon of the tragedy. The scope of the art is to transform all that is bad, the painful, terrible and incommodious things.

Apart from what this word is usually known to mean (besides the known meanings of the term), the CLAQUE was in the history of the theatre a form of manipulation of the evaluation judgements and a way of corrupting the public’s taste. Infiltrated in the theatre hall, in the middle of the „innocent” audience, the CLAQUERS applauded when their chief told them to, in order to give the impression that the play was a huge succes. They did it for the money. Taking into account this phenomenon, we can say that in the whole history of culture and, of course, on the „stage” of the world as well, the CLAQUE was always present. The CLAQUE as a cultural phenomenon is, almost each time, the price of succes.

Directive of muse, as any authentic poet, Friedrich Schiller, author of an indelibly work, expressed himself in various styles: theatre, lyrical, ballad, and works of aesthetical. Thirsty of truth, exceeding rationality, he wrote for cotemporary saddles a lesson of civilization, inviting on each to enjoy from art and to live in consonance with the Geist world conscious that the aesthetical education is the road toward politics and a proper ethical corresponding with historic periods inwhich was enchain. Aesthetic expressions as "the beautiful", "the sublime", transformed into ethical expressions, not in the aim of forming of a value scale, but more to express feelings and provoke answers, forming a new consciousness.

During the Nazi regime, Immanuel Kant was the most studied German philosopher. The most important in this context is the theory of the genius and of thecreation of the genius that is developed especially in the Critique of Judgement. Kant defines the genius as the natural capacity of the personality to impose its own rules to the art. The Nazi ideologists had invoked this fact to justify philosophically the right of the Führer to impose its own rules to the art of politics. This is the reason of the attempt of the Nazi propaganda to project in the public conscience the image of one genius leader who, like the genius artist, imposes his own rules to the politics.

The Islamic contestation of the last twenty years has in many aspects called into question the legitimacy of current juridical systems of supposedly MuslimCountries. Their adoption of another rationality of the law is today a well affirmed process but has left many consequences.In the article we will try to explain in which way the šarî'a, being a religious law, is completely controlled by the usage given to it by the State through the supremacy of the Constitution, its means, institutions and actors. It is therefore a question of the level of its integration into « the law » of various countries with the emphasis on the necessity of change of perspective, where the "secularisation of Islamic law" should rather be regarded as "islamisation of the Positive law", at least when referring to Family law and, above all, when dealing with specific political conditions.

This paper is about Cervante's hero, Don Quijote, who is not, axiological speaking, a comical character, as he was usually viewed, but a profound and tragicfigure. He is the idealist who believes sincerely in the high values and ideals and fights for their accomplishment. Don Quijote is like a mirror in which is reflected the moral pettiness of the others, and this is the reason for his hard punishment. The reputation of the nicest crazy man on earth represents such punishment.

This essay is a coherent and consistent system of transcendental philosophy, which portrays a reality, hidden by the veils of the exterior appearance, unknowable in the inner fundamental nature, lack of any meaning, where evil and good, moral and immoral are empty words without any possible content, hollow shells. A reality where the necessity rules everything, where the man is in the same level of any other manifestation of the Being and where the human freedom is only an illusion of the reason. But as the Bolivian poet, Jaime Saenz, says: A day of Darkness is worth more than thousand years of Brightness.