To clarify the definition of “Genius” which Kant employs in the § 46 of the Critique of Judgment is the motto of the considerations of the present article about the meaning of the “innate” in the transcendental philosophy.

The purpose of this article is to examine Baumgarten’s proposal - Aesthetica §140; analyzing the catalogue of the sensitive faculties of the human mind as well as the Topics of artistic production. Certainly, this would be equivalent to the conversion of the aesthetic subject and the artist natural talent into beauty and art criteria. This does not imply, however, reducing the latter to mere expressive subjectivity of feeling and emotion. Contrary, Baumgarten is still thinking that art and beauty are subject to rules; only those rules are based on the human psyche nature and, the rather peculiar function of her own cognitive abilities. Such conviction encourages his idea of an artistic creation founded up on Natural Topics; which is based on the “Empirie Psychology of the Moderns”. This article considers the presumption that the philosophical elaboration of that idea implies an historical rising of internal sense; both, as an authentic art’s abode and, as a supreme cognitive resource thanks to his conception in terms of “analogon rationis”. On the other hand, this article shows that Baumgarten did not develop the Psychological Topics of invention on his Aesthetica (1750-58); rather he developed the Psychological Topics from his first poetological writing - Meditationes de nonnullis ad poema pertinentibus (1735).

The aim of this research is to propose a reading of Aristotle’s Metaphysics understood as an answer to the problem of non-being. This orientation will reveal the validity of the Aristotelian ontological approaches for the present, because today also the movement, the difference, the inidentity and the time constitute fundamental philosophical problems. We know that Aristotle displayed his ontology in dialogue and discussion with his predecessors. In this paper, I point out certain aspects of this debate to the extent that they contribute to highlighting those topics of the first philosophy that constitute a solution to the problem of non-being.

Le projet de Spinoza d'une philosophie de la joie se développe dès une position hipersubjectiviste, presque hobbesienne, laquelle aboutirait à une contraposition entre les subjectivités, vers une autre position dont les traits collectifs sont remarquables. Cette dernière ouvre la porte à une théorie démocratique radicale, munie de tout un batiment épistémologique et ontologique. On peut trouver, dans notre siècle, une autre philosophie, celle de J.-P. Sartre, qui a parcouru un chemin très prochain et qui présente des problèmes politiques parallèles à ceux de la théorie spinozienne, en concret en ce qui concerne la question de la liberté. Le présent article veut penser les limites de la conception spinozienne et sartrienne de la liberté et la dimension politique de la question.

The aim of this paper is to investigate a crucial period in the development of the young Hegel (Jena, 1801-1803). Watching the decline and fall of the Holy German-Roman Empire and the Napoleonic Wars, Hegel laid a first theoretical foundation of the modern State through an allegorical interpretation of Orestes' myth (Eumenides, Aeschylus) as a sort of study-case of the "tragedy in the ethical life". Hegel atempts in this way to overcome the decomposition of the old classical ideals, which takes place at the time of the emerging egoism of the bourgeois capitalism. The proposed solution by Hegel in 1803 is the last attempt to build a new religion on the basis of the reconciliation of the People with their own destiny.

Up to the middle of the 20th Century, studies of metaethics were the main object of study of the analitical current which covered that area, leaving aside fundamental problems, considered meaningless at that time. Even though Rawls is heir of this philosophical current, he supports a new approach which goes back to the substancial nature of ethics, though set in a framework whose political basis supposedly is liberal democracy, his methodology of contractualism and content, and a constructivism lacking metaphysical presuppositions, strongly influenced by Kantian thought. Taking these elements, Rawls designs a theory of justice whose main aspiration is faimess, a theory by which he tries to disprove the two main ethical currents of his time: Utilitarism and Intuitionism. To all this he adds a clear intention of considering an ordered society the one where Right is above Good. According to him, only then a pluralist society will be possible, a society where the ends of liberal democracy can be accomplished.

Following the poetics of Gastón Bachelard, the Mexican poet Enriqueta Ochoa takes us to the intensity of the being across the metaphorical configuration of subjectivity. We are a bonfire, us humans, a wasps’ nest, according to the generating principle of the cosmic image of fire in Electra's Return. But this wasps’ nest, before appearing as despair, is a desire. I carus principle is applied in the body that burns for the illusion, for the enchantment of freedom and for the desire as manifestation of fire. In this respect, one of the most important visions in Enriqueta Ochoa’s poem is that of the wasps’ nest, metaphor of the combustion that is generated in flames. Burning is a verb close to human existence. Burning is proof of the existential suffering, of being alive. From the image of the wasps’ nest, the fire turns into the mark of desperation as sting of desire.