La «contraddizione» filosofica del paesaggio. Rilke, Florenskij, Guardini e il problema della relazione uomo-mondo

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journal	RIVISTA DI FILOSOFIA NEO-SCOLASTICA
issue	RIVISTA DI FILOSOFIA NEO-SCOLASTICA - 2019 - 2
title	La «contraddizione» filosofica del paesaggio. Rilke, Florenskij, Guardini e il problema della relazione uomo-mondo The Philosophical «Contradiction» of the Landscape. Rilke, Florenskij, Guardini and the Problem of the Man-World Relationship
author	Oreste Tolone
publisher	Vita e Pensiero
format	Article \| Pdf
online since	07-2019
doi	10.26350/001050_000112
issn	00356247 (print) \| 18277926 (digital)
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Description Readers' comments
Landscape as a philosophical theme is based on a contradiction: that of being at the same time a portion of Land, which however refers to a totality. This contradiction is linked to the origin of the landscape. After the break between man and cosmos, subject and object in the Renaissance period, man discovers nature as a landscape. It is the result of this division and therefore lends itself to being interpreted both as a projection of the modern subject (Florenskij) and as a way of resisting the loss of the original unity (Ritter). The two opposing possibilities, which have their roots in the initial contradiction, can be read together if interpreted as a dual way of recovering a home, at the time of the cosmic break between subject and world. keywords Landscape, Subject, Guardini, Florenskij, Rilke Author biography orestetolone@gmail.com Enter a comment for La «contraddizione» filosofica del paesaggio. Rilke, Florenskij, Guardini e il problema della relazione uomo-mondo

Description Readers' comments

Landscape as a philosophical theme is based on a contradiction: that of being at the same time a portion of Land, which however refers to a totality. This contradiction is linked to the origin of the landscape. After the break between man and cosmos, subject and object in the Renaissance period, man discovers nature as a landscape. It is the result of this division and therefore lends itself to being interpreted both as a projection of the modern subject (Florenskij) and as a way of resisting the loss of the original unity (Ritter). The two opposing possibilities, which have their roots in the initial contradiction, can be read together if interpreted as a dual way of recovering a home, at the time of the cosmic break between subject and world.