By Manuel Cruz

A todo el mundo le gusta estar enamorado, el amor alimenta l. a. fantasía de poder ser otro sin dejar de ser el mismo. Devolvemos a los angeles personality amada l. a. imagen exagerada de sus cualidades amplificadas. Sin embargo, nuestra sociedad jalea de puertas para afuera a los enamorados y desconfía de ellos puertas para adentro.
Como el resto de humanos, los grandes pensadores vivieron intensamente, para bien o para mal, el amor. Sin embargo, ellos nos han dejado el legado de todas las rules que tuvieron sobre este sentimiento. ¿Quién no ha sentido amor platónico? ¿Quién no se ha dejado arrastrar por el deseo? ¿Quién no se ha obsesionado con el amado? ¿Cuántas veces nos hemos enamorado de l. a. imagen que nos hacemos de alguien en lugar de l. a. character actual?

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Art is the phenomenalization of (aesthetic) ideas. In fact, it might be that what defines art as art is not so much a category like the beautiful, or a matter of technique, for instance, not its deployment of symbols to allow access to the supersensible, or even its own phenomenalization of aesthetic ideas, so much as it is its very functioning as symbol, precisely the symbol of phenomenalization. The symbolization that art presents is necessarily double: it is the phenomenalization of aesthetic ideas and, by reflecting on itself, this very phenomenalization, by symbolizing it in turn, provides the self-closure of art as ideal(ism).

For if the body is crucial here, it is insofar as it figures the limitation of freedom. Manner in art, a mannered art, is inferior, perhaps not quite art at all, precisely because it never escapes the body, more precisely the habits of the hands. The body has no hand in style, however, the stylus being an instrument of writing which, while it leaves its particular marks, can always be put down in favor of another. Style will always be a kind of inscription in wax or the imprinted declaration on the work of art—that it is precisely art and not nature.

Materiality here no longer figures the symbolic embodiment of the idea; rather, it will permit no symbolization that is not also an embodiment of its very materiality. Romanticism and the Invention of Literature 27 Not only does Schelling’s system have difficulty fitting the materiality of works of art into his system, therefore, but the materiality of language can never be reduced to the system. Since this philosophy of art is always also the symbol of philosophy itself, the symbolization that should provide the fulfillment of Idealism will have to come to terms with its inability to overcome this irreducible materiality in a work of art.

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