This article discusses the influence that Schopenhauer’s thought had on Mihai Eminescu’s work with reference to the idea of “pessimism.” It also considers Schopenhauer’s influence on Romanian philosophy and literature at the end of the nineteenth century. We shall examine Eminescu’s alleged “Schopenhauerian pessimism,” considering firstly “pessimism” as a part of Eminescu’s “myth.” Secondly, we shall cover the critical reception of Eminescu’s “Schopenhauerian pessimism,” discussing the existing literary and philosophical scholarship. Finding that there are issues for (...) debate regarding Schopenhauer’s alleged influence upon Eminescu, we argue that Eminescu’s “Schopenhauerian pessimism” may be a “legend.” The article examines the connection between Eminescu and one of Schopenhauer’s most influential followers, Eduard von Hartmann. (shrink)

Listening Music Listening to an art of music’s work! Something important happens to us. Why? Because our soul is touched and moved at its deepest levels. In contact with music, a spiritual tumult invades our entire being; and we are revealed to ourselves in a new and previously unknown way. Face to face with the harmonious sounds – giving music the status of an artistic “text” – we find opportunities – maybe the best possible – to unfold our unique capacity (...) to participate in, understand and even interpret life’s expanse. We put ourselves in the state of better self-knowledge and comprehension, by that hermeneutic polarity of “proximity and detachment” – according to Paul Ricoeur 2 . When we listen to music, each of us gives ourselves the chance to live the “absolute moment” – meaning, “at the same time, self-denial and self-mediation”. Everything that tears one away from anything restores the whole of totality of ‘being’, the subject installs himself in the profundity of “meaning’s continuity” 3 . In listening to music, the human being experiences universal communication, reaching the root of the major ethical truth of life – some of the “Logos of Life”, the center-concept in Phenomenology of Life elaborated by AnnaTeresa Tymieniecka 4 . “Two plans”: the “first” and the “second” – using Nicolai Hartmann’s aesthetical terms – are working together, in the accomplishment of musical art within the intuition and comprehension process to create a unitary view of this complex phenomenon. Through contact with an audio-sensitive matter, the listener deciphers a spiritual content molded into an artistic form. This content, its sense, and the force by which a musical work preserves and increases its identity over time are revealed through examination of the “relation between these plans”, through analysis of the whole musical experience in their “pure inner, autonomous connection” 5 . So we can speak about the relation between the material elements of the structure of musical language and what is “unreal” behind the spiritual elements of the plan. Hence, a question comes into profile: What is the reason for music’s life? What is its genesis, development, strength; actually, its undoubted value throughout its evolution over the millennia? We maintain that the ethos constitutes its great existence; the ethos – “rather than the eidos”, speaking in terms of Anna-Teresa Tymieniecka , which assures even the “ontic-ontological” differentiation . In discussion is the intimate relation between manifestation, external phenomenally, and intelligibility, internal foundation, essence. Beyond the empirical domain, that of the organized sounds in melody, harmony, and rhythm, let us examine the substratum of interiority within which a plenitude of ethical values makes their home. Consequently, we set up a new concept: the meloethics 7 - a complex philosophical construct, a structural-dynamical unity of the components : ‘mélos’ / ‘ ’ = song, melody; by extension: music; and ‘èthiké’ / ‘ ’ = moral, which belongs to ethics; herein, the system of moral values. (shrink)

20 November 1942 Writing the article, “Dor - A suadade romena” for Acção, I read again Eminescu’s “Mai am un singur dor”. Heretofore I believed that it has to do with his desire for reintegration in the Cosmos. Now I’m beginning to think it’s something else: the desire to find again, through death, his true cosmic family . Not reintegration - but the return home, to his own.

The link between language and thought formed a major new exploration of twentieth-century philosophy. Languages nuance our ideas and perceptions. Though from various angles, Heidegger, Derrida, Wittgenstein forged new ways of understanding the relationship between our views of the external world and our culturally and linguistically pre-determined modes of expression. Another giant in this field of exploration is the Romanian philosopher Constantin Noica (1909-1987), who has so far remained generally unknown to the Western World because of the Iron Curtain. The (...) Romanian Sentiment of Being (Sentimentul românesc al ființei), first published in Romanian in 1978, is a philosophical work at the intersection of metaphysics and philosophy of language. The title of this book may be deceptive. "Romanian" does not mean ethnically circumscribed; it does not limit ontology to nationality but rather reflects on how language can carry ontological thought. The Romanian Sentiment of Being invites the readers to meditate on the fundamental theme of being and how it is expressed in a culture in time. This being in time marks the tension between moment and eternity, captured in the fairytale "Ageless Youth and Deathless Life" ("Tinerețe fără batrânețe și viață fără de moarte"), which Noica interprets in detail. The translation of the story will be found in the appendix. Noica also analyzes one of the most famous poems in Romanian, Mihai Eminescu's "The Evening Star" ("Luceafărul"), and readers will find its translation in the appendix. (shrink)

Of all the Romanian thinkers, Constantin Noica was almost exclusively attracted to Lucian Blaga. In most of his writings, whenever he felt the imperious need to prove his ideas, he turned to the philosopher of "luciferic knowl- edge". Thus, Noica offered solutions for the understanding of the expression "strengthen the mystery through the ecstatic intellect'. Also, if Lucian Blaga buit a metaphysic of genius, Constantin Noica particularized the idea of genius, taking Eminescu as an example, regarding him as "the (...) complete man of the Romanian culture". (shrink)

This book is a rediscovery and examination of the thinking of Vasile Băncilă, a philosopher forbidden by the totalitarian regime of Nicolae Ceaușescu. The philosopher Lucian Blaga saw Băncilă as a threat to the spirit of the highest Romanian culture. It is estimated that Băncilă's work extends to 32 volumes, 17 of which have been published so far. With such a significant opus, Vasile Băncilă is, indisputably, a key figure in contemporary Romanian culture, particularly in the sphere of philosophy. The (...) book has eleven chapters and is divided into two parts. The first part deals with the hermeneutics of the author's youthful works. His reflections on the purpose of philosophy for life are important, about the role of this discipline in the education of adolescents and students, the relationship between irony and education, his thoughts of one of the greatest Romanian poets, Mihai Eminescu, and the philosophy of Descartes and of Schopenhauer. In the second part, the book looks at Băncilă's aim of structuring a possible system of philosophy; more precisely, an ethnic-spiritualist metaphysics which, when it was elaborated, contradicted the official ideology of the totalitarian regime. Finally, the book covers the philosopher's work, analysing step-by-step the relation between the part and the whole (pars pro toto), as well as between existence and metaphysics, and the philosopher's conclusions about Romanian existence. (shrink)

Various notions of philosophy of language are present constantly in the whole work of Constantin Noica. His concerns are directed towards the language as a pivotal human ability and as a fundamental form of culture, towards the philosophy and the hermeneutics of the poetic language (especially of Eminescu’s language), as well as towards some linguistic and philosophical concepts related to the Romanian language as a historical language.