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Resum Weltanschauung

El caçador, les forces animistes (animisme i totemisme)
La mare terra, el cicle lunar, pobles neolítics, megalits i astrobiologia
la terra plana, el cel, els animsls [inventari restringit]

Politeisme: mesopotàmia, Egupte, religions cananees, Zeus i els olímpics
Els misteris òrfics

Els presocràtics, Parménides i Heràclit, Sòcrates i la moral, Plató i les idees, Aristòtil i el món natural

Què hem de fer: el control de les passions de Plató, l’estoicisme, la moderació assenyada dels epicuris. les tragèdies gregues: ordre natural, la hybris

Primera visió del món elaborada: terra rodona enmig del cel, món lunar i sublunar, el Timeu, Aristòtil, la natura de Lucreci, Ptolomeu

El cristianisme: la compassió, la fi dels temps (teologia reelaborada quan Jesús no ressucita)

Buda: deixar de patir

[l’ordre cíclic de la terra, la idea de la vida eterna i la slavació o condemnació]

Resums de filosofia
[on resumir-ho? Exercici de posar-ho a l’inventari]

Europa medieval: viure per no ser condemnats, DANTE,  abusos de l’església i reforma de Luter

Interrogants del renaixement: Copèrnic, Descartes, Galileu

Locke, Hume, Leibniz, Spinoza

[món creat per Déu, viure per meréixer la salvació, món  que comencem a entendre més de manera independent i aspirem a fer compatible la fe i la raó]

Ciència moderna, il·lustració i revolució industrial

Kant, Hegel

Newton, teoria atòmica, Maxwell

L’ideal romàntic de plena realització

Un món comprensible per la ciència, una moral racional, un món ple de recursos a explotar, [enlloc del futur de salvació, un futur de progrés gràcies a societats i moral justes, i el progrés científic

Simbolisme

Física quàntica, Cosmologia, codi genètic, evolució

Idea del món que deixa obsoleta del tot lac ració: narració del big bang, història de la terra, evolució. L’home no és al centre sinó en un racó buit, un casualitat i uan curiositat en un univers uniforme.

La fi de la filosofia paralela a la religió: Nietszche, la filosofia del llenguatge, els existencialistes
La filosofia que analitza les conseqüències del model d’home robot, filosofia de la ment, la filosofia del fracàs humanístic

Tecnologia moderna1: agricultura, plàstics, electricitat

Tecnologia moderna2: la informàtica i internet, una efímera nova utopia: coneixement per a tots (wikipedia) i més comunicació (email, facebook, whatsapp) resulta en les fake news i gent solitària.

Les fi de les utopies, no sabem viure: guerres i shoah, explotació del planeta i canvi climàtic, augment de les desigualtats

[a integrar]

xme islam hinduisme budisme, (ateu?)
Weltanschauungen
In 1911, Dilthey developed a typology of the three basic Weltanschauungen, or World-Views, which he considered to be “typical” (comparable to Max Weber’s notion of “ideal types”) and conflicting ways of conceiving of humanity’s relation to Nature.[34]
    in Naturalism, represented by Epicureans of all times and places, humans see themselves as determined by nature
    in the Idealism of Freedom (or Subjective Idealism), represented by Friedrich Schiller and Immanuel Kant, humans are conscious of their separation from nature by their free will
    in Objective Idealism, represented by G. W. F. Hegel, Baruch Spinoza, and Giordano Bruno, humans are conscious of their harmony with nature.
This approach influenced Karl Jaspers’ Psychology of Worldviews as well as Rudolf Steiner’s Philosophy of Freedom.
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Simbolisme

Previ : Naturalisme

[Problema: és una visió limitada de la realitat, la vida avorrida?, deixa fora l’ideal, el món dels somnis?]

[Proposta: explorem més enllà de la simple descripció, evoquem móns potser inexistents, o ocults, fem servir símbols per expressar estats d’ànim o ens que no es troben en la vida quotidiana][Localitzat a França, Bèlgica i Rússia]

[Discussió: Fins a quin punt els artistes trien evocar mites existents i fins a quin punt n’exploren de nous? L’acte creatiu de proposar un món iedal, la belles cñlàssica, que no es troba en la realitat, és una fugida, un engany? és una manera de construir un món diferent? Hi ha una semblança amb l’acte de creaciuó religiosa de proposar un Déu, o amb la ficció suprema de Wallace Stevens][quina relació hi ha amb Poussin i Claude Lorraine?]

[el simbolisme, en rebutjar la realitat, no fa un moviment semblant al religióis? creure en una ficció alternativa??]

https://en.wikipedia.org/wiki/Symbolism_(arts)

1886: Data en que Jean Moréas publica el Manifest simbolista

1914: [l’he posat a ull, mirant les dates en que can morir els autors, i just abans de la Gran Guerra]

Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles which were attempts to represent reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. Symbolism was a reaction in favour of spirituality, the imagination, and dreams.[1] Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists; for Huysmans, this change represented his increasing interest in religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, but in their case this was mixed with Byronic romanticism and the world-weariness characteristic of the fin de siècle period.

Schopenhauer’s aesthetics represented shared concerns with the symbolist programme; they both tended to consider Art as a contemplative refuge from the world of strife and will. As a result of this desire for an artistic refuge, the symbolists used characteristic themes of mysticism and otherworldliness, a keen sense of mortality, and a sense of the malign power of sexuality, which Albert Samain termed a “fruit of death upon the tree of life.”

Literatura: The symbolist poets wished to liberate techniques of versification in order to allow greater room for “fluidity”, and as such were sympathetic with the trend toward free verse, as evident in the poems of Gustave Kahn and Ezra Pound. Symbolist poems were attempts to evoke, rather than primarily to describe; symbolic imagery was used to signify the state of the poet’s soul. Baudelaire, Verlaine, Rimbaud

Art: Symbolism in literature is distinct from symbolism in art although the two were similar in many aspects. In painting, symbolism can be seen as a revival of some mystical tendencies in the Romantic tradition, and was close to the self-consciously morbid and private decadent movement.

There were several rather dissimilar groups of Symbolist painters and visual artists, which included Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Jacek Malczewski, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Félicien Rops, and Jan Toorop. Symbolism in painting was even more widespread geographically than symbolism in poetry, affecting Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, as well as Frida Kahlo in Mexico, Elihu Vedder, Remedios Varo, Morris Graves and David Chetlahe Paladin in the United States. Auguste Rodin is sometimes considered a symbolist sculptor.

The symbolist painters used mythological and dream imagery. The symbols used by symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, symbolism in painting influenced the contemporary Art Nouveau style and Les Nabis.[11]

Music

Symbolism had some influence on music as well. Many symbolist writers and critics were early enthusiasts of the music of Richard Wagner,[19] an avid reader of Schopenhauer.

The symbolist aesthetic affected the works of Claude Debussy. His choices of libretti, texts, and themes come almost exclusively from the symbolist canon. Compositions such as his settings of Cinq poèmes de Charles Baudelaire, various art songs on poems by Verlaine, the opera Pelléas et Mélisande with a libretto by Maurice Maeterlinck, and his unfinished sketches that illustrate two Poe stories, The Devil in the Belfry and The Fall of the House of Usher, all indicate that Debussy was profoundly influenced by symbolist themes and tastes. His best known work, the Prélude à l’après-midi d’un faune, was inspired by Mallarmé’s poem, L’après-midi d’un faune.[20]

The symbolist aesthetic also influenced Aleksandr Scriabin‘s compositions. Arnold Schoenberg‘s Pierrot Lunaire takes its text from German translations of the symbolist poems by Albert Giraud, showing an association between German expressionism and symbolism. Richard Strauss‘s 1905 opera Salomé, based on the play by Oscar Wilde, uses a subject frequently depicted by symbolist artists.

 

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Humor i riure

Riure  |  Acudits i Humor |  Exemples

El riure

(CGPT) No es tracta d’una emoció sinó d’una resposta complexa que es pot estar associada a emocions de diversió (amusement), felicitat, alleujament després d’una tensió, sorpresa [per un doble sentit inesperat?], afecte i connexió social, playfulness, eufòria, nerviosisme, Schadenfreude. [una mateixa resposta fisiològica associada a diferents experiències subjectives].

Està associat amb l’alliberament d’endorfines que contribueixen a una sensació plaent. També activa el sistema nerviós parasimpàtic (Sistema nerviós autònom), reduint el estrès.

Pot ser un mecanisme de defensa en situacions de estrès o tristesa.

La teoria d’incongruitat [cognitiu], el riure es desencadena quan trobem una incongruitat o que les expectatives no es compleixen.

[Quan riem, no comuniquem el nostre estat als altres com en l’expressió de les emocions?]

Acudits i humor

(NewYorker) Quins acudits ens fan riure? El psicòleg britànic Richard Wiseman va fer un projecte de recerca on la gent aportava acudits i els altres votaven si eren divertits o no. Temes que es repetien: “Someone trying to look clever and taking a pratfall. Husbands and wives not being loving. Doctors being insensitive about imminent death. And God making a mistake. El més votat:

A couple of New Jersey hunters are out in the woods when one of them falls to the ground. He doesn’t seem to be breathing, his eyes are rolled back in his head. The other guy whips out his cell phone and calls the emergency services. He gasps to the operator, “My friend is dead! What can I do?” The operator, in a calm soothing voice, says, “Just take it easy. I can help. First, let’s make sure he’s dead.” There is a silence, then a shot is heard. The guy’s voice comes back on the line. He says, “O.K., now what?”

Ha estat objecte d’estudi de filòsofs, psicòlegs i neuròlegs. Es va perdre un tractat d’Aristòtil. El 1901 Bergson  va escriure “Qu’est-ce que c’est le rire?”

No queda clar quins processos cerebrals intervenen. No hi ha un punt a estimular que provoqui riure. Sembla que els jocs de paraules són processats a l’hemisferi esquerre i els  no verbals al dret.” In a 1981 paper in Brain and Language, the researchers Wendy Wapner, Suzanne Hamby, and Howard Gardner concluded that the left hemisphere of the brain is a “highly efficient, but narrowly programmed linguistic computer; in contrast the right hemisphere constitutes a suitable audience for a humorous silent film.” They explained, “While the left hemisphere might appreciate some of Groucho’s puns, and the right hemisphere might be entertained by the antics of Harpo, only the two hemispheres united can appreciate a whole Marx Brothers routine.” Neither hemisphere, apparently, thinks much of Chico.

Al sXVII Pascal va introduir la teoria de la incongruència, la desproporció entre l’expectativa i el que passa realment.
La teoria de l’alleujament afirma que trobem divertit el que qüestiona les normes que reprimeixen desitjos tabú inconscients. (Freud,  “Jokes and Their Relation to the Unconscious” 1905).
El neuròleg V. S. Ramachandran, in “Phantoms in the Brain” (1998), comenta la teoria de la incongruència com un mecanisme adaptatiu. Després d’una expectativa d’amenaça o perill (insular còrtex), el anterior cingulate gyrus, detecta una incongruència i envia el missatge “no hi ha perill” [i tot l’organisme es relaxa, catarsi] . El riure  comunica a la resta del grup que no cal preocupar-se.

[en relació amb el final inesperat] Leo McCarey, who directed the early Laurel and Hardy films, called it “almost an unwritten rule”—that jokes work best when there are two straightforward examples, to establish a pattern, and then a third, to shatter it. (“My favorite books are ‘Moby-Dick,’ ‘Great Expectations,’ and ‘Rock Hard Abs in Thirty Days.’ ”)

Exemples

Cabelleres congelades  a Takhini Hot Springs, Canadà

Cursa empaitant un formatge a Cooper’s Hill, Gloucestershire
Cursa carregant la dona, a Sonjakarvi, Finlàndia. El premi és el pes de la dona, en cervesa.
Baixades d’andròmines celebrades a moltes poblacions de Catalunya

Humoristes

Cinema

TV: Monthy Phyton

Monòlegs: Joan Capri

 

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Arquetipus de Jung. Inconscient col·lectiu

Jung proposa que la psique no és només el resultat de l’experiència individual a partir d’un estat indeterminat o tabula rasa. Hi hauria unes “imatges primordials” o arquetipus universals sobre les quals es constitueix l’experiència individual. Això es pot inferir indirectament a partir analitzant la història, l’art, els mites i les religions. Serien [modes d’ésser] innats comuns, de manera que es podria parlar d’un inconscient col·lectiu.

(1919 https://en.wikipedia.org/wiki/Jungian_archetypes)

Exemples:

– The father: Authority figure; stern; powerful.
– The mother: Nurturing; comforting.
– The child: Longing for innocence; rebirth; salvation.
– The wise old man: Guidance; knowledge; wisdom.
– The hero: Champion; defender; rescuer.
– The maiden: Innocence; desire; purity.
– The trickster: Deceiver; liar; trouble-maker.
Jung described archetypal events: birth, death, separation from parents, initiation, marriage, the union of opposites; archetypal figures: great mother, father, child, devil, god, wise old man, wise old woman, the trickster, the hero; and archetypal motifs: the apocalypse, the deluge, the creation. Although the number of archetypes is limitless, there are a few particularly notable, recurring archetypal images, “the chief among them being” (according to Jung) “the shadow, the wise old man, the child, the mother … and her counterpart, the maiden, and lastly the anima in man and the animus in woman”.[9] Alternatively he would speak of “the emergence of certain definite archetypes … the shadow, the animal, the wise old man, the anima, the animus, the mother, the child”.[10]
The Self designates the whole range of psychic phenomena in man. It expresses the unity of the personally as a whole.
The shadow is a representation of the personal unconscious as a whole and usually embodies the compensating values to those held by the conscious personality. Thus, the shadow often represents one’s dark side, those aspects of oneself that exist, but which one does not acknowledge or with which one does not identify.[11]
The anima archetype appears in men and is his primordial image of woman. It represents the man’s sexual expectation of women, but also is a symbol of a man’s hard-on possibilities, his contrasexual tendencies. The animus archetype is the analogous image of the masculine that occurs in women.
[a completar amb Durand, les STructures Antropologiques de l’imaginaire]
[a completrar també amb “Metaphors we live by]