Članek uvaja v Luthrovo razumevanje Božje besede. Poudarek je na Luthrovi hermenevtiki, na njegovem razumevanju odnosa med Svetim pismom, Božjo Besedo in evangelijem. Razlaga Luthrovo poudarjanje ...kristocentričnosti Svetega pisma in obravnava vprašanje razmerja med duhom in črko v Bibliji. Avtoriteta Svetega pisma je nad avtoriteto cerkvenega učiteljstva in papeža. Luthrovo načelo, da Sveto pismo interpretira samega sebe, implicira svobodo razlagalca Biblije in hkrati njegovo brezpogojno odvisnost od Duha Svetega pisma. Zaresno teološko delo na Svetem pismu je njegova interpretacija. Prava evangeljska reformacijska praksa na Svetem pismu je interpretacija, ki usmerja k Jezusu Kristusu: Kristus je izvir evangelija in evangelij je središče Svetega pisma. Treba je razumeti in upoštevati kontekst načel sola fide ali sola scriptura: če je sola scriptura uporabljena brez upoštevanja izvornega teološkega konteksta, vodi v nerazumevanje fundamentalistične ali spiritualistične vrste.
Pouk klasične kulture in književnosti je prostor, kjer dijaki poleg splošnega znanja in razgledanosti pridobivajo tudi sposobnosti čudenja, avtorefleksije, samokritičnosti in strpnosti. Proces ni ...nikoli zaključen, to za raziskovanje samega sebe velja že iz antičnih časov; kot bi rekel Kavafis, je včasih pomembna zlasti pot. Dijake po gimnaziji čaka še dolgo zorenje v »umetnosti življenja«, učiteljska prizadevanja ne obrodijo vedno takojšnjih sadov, morda občasno naletimo tudi na gluha ušesa. Važno je, da ne ustvarjamo fiktivnega prepada med snovjo in življenjem; tega se nenazadnje dijaki učijo celo preko razvozlavanja jezikovnih ugank zapletenih latinskih ali grških stavkov. Pouk klasičnih jezikov je skozi generacije izkazal in potrdil svojo vzgojno-izobraževalno vrednost. Novi časi vsekakor zahtevajo sveže učne pristope, ne pa nujno novih vsebin, saj človek išče odgovore na ista temeljna bivanjska vprašanja, kot jih je iskal v antiki.
Duh in črka glasbe Matjaž Barbo
De musica disserenda,
06/2015, Volume:
5, Issue:
1
Journal Article
Peer reviewed
Open access
V 19. stoletju je podčrtano nasprotje med glasbenim tekstom in njegovo izvedbo. Zdi se, da se v kontrastu med neulovljivim, vsem umetnostim enakim duhom ter črko glasbenega teksta kažejo stara ...nasprotja, ki jih čas s poudarjeno individualizacijo glasbenega dela še poglablja. Estetska normativnost glasbenega dela je uveljavila navidezni koncept samoregulirajoče avtonomnosti, ki pa vendar opozarja, da se glasba morda nikoli ni zares odrekla zunanjemu referenčnemu sistemu.
S Freudovo psihoanalitično in estetsko kategorijo »grozljivega« avtor obdela prvih pet Mahlerjevih pesmi iz »Dečkovega čudežnega roga«, ki so označene kot »humoreske«. Prve tri pripovedujejo o ...travmatičnih seksualnih srečanjih, četrta o neugnanem užitku in zadnja o glasbi sami, ko tisto, kar je domače in dobro znano, postane grozljivo.
A comparison between Sophocles’ and Seneca’s Oedipus the King affords large scope for illuminating the similarities and contrasts between their respective cultural milieus. The generic and thematic ...similarity of the works (which, of course, points to the embeddedness of Roman drama in the Greek genre) helps to set off the enormous cultural differences: the social function of the theatre, the conception of myth, and the religious and spiritual horizons in the early Roman Empire vastly differed from those of the classical Athens. It is only against the background of these general cultural differences that the issue most interesting to literary hermeneutics can be estimated: the irreducibly individual feature of either author, Sophocles or Seneca – his style. Seneca’s plays, regardless of their (un)stageability, are strongly rhetorical. The extensions of certain motifs of the traditional myth (description of the plague at Thebes), their inventive reworking, and narrative digressions (divination using entrails, description of the forest, rite of evoking the dead) significantly slow down the dramatic action. The scenes are thus often lengthy and static, yet at the same time meticulously and evocatively elaborated as images of the external and internal worlds. The effects of the characters’ extensive psychological self-illuminations in their monologues sometimes run counter to dramaturgical logic, a feature which sets Seneca’s Oedipus most clearly apart from Sophocles’. Given this striking extensiveness, the reconciliation of Seneca’s tragic hero to his fate seems the more surprising: a likely motive for it is the pedagogical principle of Stoic poetic, according to which the spectator is ‘purified’ of his affects through the catharsis which is experienced by the characters within the dramatic space and time.
Kot se vidi iz 4. poglavja Hermenevtike, spada analiza neizjavljalnih stavkov, kot so želje, zapovedi itd., v retoriko in poetiko. Toda obdelani niso niti v Retoriki niti v Poetiki, kjer je v 20. ...poglavju njihova obravnava izrecno izločena iz pesniške umetnosti in premeščena v veščino uprizarjanja ali predvajanja. Ta članek daje za opisano diskrepanco razlago, ki temelji na Aristotelovi zavrnitvi Protagorove kritike Homerja.
In Between Facts and Norms, Jurgen Habermas works out the legal and political implications of his Theory of Communicative Action (1981), bringing to fruition the project announced with his ...publication of The Structural Transformation of the Public Sphere in 1962. This new work is a major contribution to recent debates on the rule of law and the possibilities of democracy in postindustrial societies, but it is much more. The introduction by William Rehg succinctly captures the special nature of the work, noting that it offers a sweeping, sociologically informed conceptualization of law and basic rights, a normative account of the rule of law and the constitutional state, an attempt to bridge normative and empirical approaches to democracy, and an account of the social context required for democracy. Finally, the work frames and caps these arguments with a bold proposal for a new paradigm of law that goes beyond the dichotomies that have afflicted modern political theory from its inception and that still underlie current controversies between so-called liberals and civic republicans. The book includes a postscript written in 1994, which restates the argument in light of its initial reception, and two appendixes, which cover key developments that preceded the book. Habermas himself was actively involved in the translation, adapting the text as necessary to make it more accessible to English-speaking readers.
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