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The thinking behind this approach derived from the melancholic personalities of de Chirico and his brother, the writer and composer Alberto Savinio. It was encouraged by their reading (c. 1910) of the German philosophers Friedrich Nietzsche, Arthur Schopenhauer and Otto Weininger. They became interested in Nietzche’s notion of the eternal return and the circularity of time, which supported their own views about the re-enactment of myth. Their central concern was true reality (where the past recurs), which is hidden behind the reality of appearances and visible only to the ‘clearsighted’ at enigmatic moments. In his paintings de Chirico sought to unmask reality and reveal its mysterious truth. The modification of perspective and depiction of mundane objects provided the appropriate context.
In Paris (1911–15), de Chirico and Savinio became close friends of Guillaume Apollinaire , finding parallels to their understanding of Nietzsche in his conviction that the unifying element in contemporary painting was the idea of ‘surprise’, suggesting the inevitability of fate. It was Apollinaire who first called de Chirico’s painting ‘metaphysical’, referring to works produced in 1910 and 1911 (L’Intransigeant, 30 Oct 1913). De Chirico had been influenced by the work of the Symbolists and by that of Arnold Bocklin. By 1917, in Ferrara, he was painting in a simplified manner, in which crisp areas of colour outlined in black and a clear, dry modelling complement the disturbing subject-matter
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http://www.moma.org/collection/theme.php?theme_id=10883)
알도 로시를 보다가 알도 로시가 초기에 키리코와 아돌프 로스의 영향을 받았다는 말을 읽었다. 그런데 후에 모더니즘에 대한 로스와 키리코의 스탠스는 정 반대였던것 같다,
References in popular culture
In T. A. Barron's The Lost Years of Merlin (the "Sacred Time" chapter), Merlin's mother says that "stories" — specifically, myths — are "real enough to help [her] live. And work. And find the meaning hidden in every dream, every leaf, every drop of dew."[33] She states that "they dwell in sacred time, which flows in a circle. Not historical time, which runs in a line."[33]
Jean Cocteau's screenplay for L' Eternel Retour (1943) portrays the timeless nature of the myth of Tristan and Isolde.
http://en.wikipedia.org/wiki/Eternal_return_(Eliade)
Time is viewed as being not linear but cyclical.
All things began in order, so shall they end, and so shall they begin again;
The eternal recurrence is also mentioned in passing by the Devil in Part Four, Book XI, Chapter 9 of Dostoevsky's The Brothers Karamazov, which is another possible source that Nietzsche may have been drawing upon
[T]ime is infinite, but the things in time, the concrete bodies, are finite. They may indeed disperse into the smallest particles; but these particles, the atoms, have their determinate numbers, and the numbers of the configurations which, all of themselves, are formed out of them is also determinate. Now, however long a time may pass, according to the eternal laws governing the combinations of this eternal play of repetition, all configurations which have previously existed on this earth must yet meet, attract, repulse, kiss, and corrupt each other again...[10]
In Carl Jung's seminar on Thus Spoke Zarathustra, Jung claims that the dwarf states the idea of the Eternal Return before Zarathustra finishes his argument of the Eternal Return when the dwarf says, "'Everything straight lies,' murmured the dwarf disdainfully. 'All truth is crooked, time itself is a circle.'"
James Joyce was influenced by Giambattista Vico (1668–1744), an Italian philosopher who proposed a theory of cyclical history in his major work, New Science. Joyce puns on his name many times in Finnegans Wake, including the "first" sentence: "by a commodius vicus of recirculation". Vico's theory involves the recurrence of three stages of history: the age of gods, the age of heroes, and the age of humans — after which the cycle repeats itself. Finnegans Wake begins in mid-sentence, with the continuation of the book's unfinished final sentence, creating a circular reference whereby the novel has no true beginning or end.[20] See also Ages of Man and Greek mythology.
Jorge Luis Borges, in his short story "The Doctrine of Cycles" explains and refutes the concept of the Eternal Return, citing it as being "...usually attributed to Nietzsche."[citation needed]
Northrop Frye, in his highly influential Anatomy of Criticism, formulated a theories of cycles influenced by Giambattista Vico and Oswald Spengler, and later commented: "I noticed that the acceptance of theories of recurrence seemed to accompany either neurotic obsession, as in Nietzsche, or projected forms of self-interrogation of the most dubious kind, as in Yeats' Vision. Also that cyclical images seemed to be central and indispensable to fascist and nazi views of history. ... reincarnation has two reactionary elements built into it. It makes possible a lessening of seriousness about the efforts to be made in this life..."[21][22]
The religious scholar and writer Mircea Eliade has applied the term "eternal return" to what he sees as a universal religious belief in the ability to return to the mythical age through myth and ritual (see Eternal Return (Eliade)). Eliade's theory of "eternal return" describes a distinctly nonspontaneous process that depends on human behavior; thus, it should be distinguished from the philosophical theory of eternal return (the subject of this article), which describes a mathematically inevitable process.
Milan Kundera's seminal work, The Unbearable Lightness of Being, is rooted in the concept of Eternal Return, with the narration explicitly referring to and building on Nietzsche's interpretation.
Robert Jordan's epic fantasy series 'The Wheel of Time' is set in a world in which an eternal return of history is reality and the end of each cycle is marked by the rise of a 'Dragon' who can be loosely compared to Nietzsche's Ubermensch.[citation needed]
The first line of Disney's Peter Pan is "All of this has happened before, and it will all happen again." This line has been cited as the inspiration behind the same theme in Battlestar Galactica
Michael Ende's 1979 novel, The Never Ending Story, muses on themes of eternal return, with the Old Man of Wandering Mountain and the Childlike Empress being two opposing and unified figures caught in The Circle of Eternal Return. (p. 195)
The Sacrifice a final film by Andrei Tarkovsky is meant to explore the perpetual recurrence of the personal reality, among other things of the Nietszche's philosophy
http://en.wikipedia.org/wiki/Eternal_return
I want to learn more and more to see as beautiful what is necessary in things; then I shall be one of those who make things beautiful. Amor fati: let that be my love henceforth! I do not want to wage war against what is ugly. I do not want to accuse; I do not even want to accuse those who accuse. Looking away shall be my only negation. And all in all and on the whole: some day I wish to be only a Yes-sayer.
http://en.wikipedia.org/wiki/Amor_fati
At once strange and familiar, as though deliberately crafted to illustrate Freud’s concept of the uncanny, the work has, Paul Valery argues, become part of the permanent furniture of our mind. And therein lays the challenge. It appears as though we have seen this all before. There is an odd circularity about the whole business of the commoditization of a set of symbols – a circularity prefigured in the work itself, whose logic is that of a pregnant but unmoving dream. It is only over the past ten years or so that the situation has begun to change.
Returning to the idea of the empty room unexpectedly occupied by people, I think that the metaphysical and strange appearance taken on by the occupants when we first behold them, is caused by the fact that all our senses and mental faculties, under the shock of surprise, lose the thread of human logic – the logic to which we have been geared since childhood. Or to put the matter in other words, our mental faculties forget, lose their meaning, the life around them comes to a stop, and in that halt of the vital rhythm of the universe the figures we see, while they do not change shape materially, appear as ghosts to our eyes.
One of the strangest and deepest sensations that prehistory has left with us is the sensation of foretelling. It will always exist. It is like an eternal proof of the senselessness of the universe. The first man must have seen auguries everywhere; he must have trembled at each step he took.
To live in the world as if in an immense museum of strangeness, full of curious many colored toys which change their appearance, which, like little children we sometimes break to see how they are made on the inside, and, disappointed, realize they are empty. The invisible tie that joins a people to its creations. Why for instance are the houses in France built in a certain style and not in another? There is no use citing history and the causes of this and of that; this describes, but it explains nothing for the eternal reason that there is nothing to explain, and yet the enigma always remains.
http://www.realitysandwich.com/maps_metaphysical_double_footprints_de_chiric
Ʈ ּ :
http://pooroni.com/zz/rserver.php?mode=tb&sl=832
있짜나 내사랑, 난 자기 손글씨가 너무 좋아... 자기 글씨는 뭔가 말랑말랑한 느낌이야.
이승연Բ 12/06/07 02:09 ۼ.
아니 언니, 내일 일찍 수업하러 가는날이자나 ㅠㅠ 계속 못자고있구나... 하지만 나도 역시 못자고 있어 ㅋㅋ 나는 언니 손이 좋아!
pooroniԲ 12/06/07 03:08 ۼ.
̸ :: йȣ ::
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