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Everything happens in a mysterious way, the author of "Social Contract" and "New Heloise, not yet written in 1750 important date for Jean-Jacques, is walking, something happens in his heart, begins a complete break with the philosophia, the authors of the encyclopedia, is what critics call the lighting of Vincennes, Jean-Jacques began to condemn the art, stands out from Paris.

This conversion begins by reading the announcement of the Academy of Dijon: "If the renaissance of arts and sciences has helped to purify morals ", a prize which, paradoxically, the city of Geneva wins.

He begins to think and realizes he is out of his time, perhaps not so strange, its attacks, "moralists" like his contemporaries, and led him to be a huge success, however, our author does not appreciate until the fund.

Soon fact, in 1756, arrives at the final closing and retreats to a cottage in Monntmorency, where he will have an extremely productive in those years are the aforementioned "Social Contract", "Giulia or the New Heloise" el ' "Emilio". Well

is to remember, however, that this sentence is relative, not ontological, not absolute, is not the art to corrupt men, the art is not evil, what is wrong is the relationship between art and society.

Rousseau railed against artists who sell out and sell to be appreciated and acclaimed, who prefer to be applauded rather than to be virtuous, and it is precisely in this, he plays in the importance of virtue, the very core of the sentence.

between virtue and genius, without a doubt our author chooses the only "thing" that really belongs to us, which is solely ours, the only one that can grow and increase our own strength, or the virtue.

The genius (or rather, have the genius), it is something that we already have, since it innate, can not really improve, we just, we, making good use, join us to virtue, and be real genes (it is necessary to remember that , in condemning the art, there is a substantial difference between being a genius, and have only genius).

Rousseau condemns those who have genius, but it does not make good use of those interested only to be known and humiliates himself, a man who wants to be nice and not a righteous man.

In his "Discourse on the sciences and the arts" (essay which can be found in one magnificent collection edited by Professor Ferdinand Sticker "Jean-Jacques Rousseau. Writings on arts publishing house Clueb) focuses on the fact that the birth of the arts has led humanity, once simple, corruption and inequality: each one tries to look better, everyone tries to get noticed.

But how to reconcile his iron then this criticism, his production of novels and essays?

Our author defends himself against this charge in the preface to Narciso, arguing that he writes not for fame, and if he ever forget his virtue, he would throw himself into the fire all his writings.

And, as written by Jean-Jacques, the real genius is not for sale, it is disinterested.

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condemnation of intolerance Diana

Almost initiation the hallway from the courtyard of the castle of Ferrara you must travel, while the modern, sacred and unapproachable "Temple of Diana" there slowly unfolds before your eyes.
The material of construction assails us with its scent: soap.
you enter, you start to walk and pass under the first arch that leads to another stretch of hallway in front of us stands a structure of a square base six feet high built entirely of bricks of soap, vision is almost dreamlike, the white material appears to us slowly, illuminated natural light reflects the candor, the front of the temple is slightly in shadow (the sacred can not be seen by profane eyes, fully lit): begin to unconsciously perceiving the purity that is hidden inside.
continue to walk towards the temple, you start to feel, in addition to the smell of soap and clean that all the "inner sanctum" issues, the 'howling pack of dogs of Actaeon in pursuit of their master. Proceeding
the barking of hunting dogs is increasing and takes us to the temple, plunges us in the knowledge that the sacred is elusive, that must remain invisible to the Sacred human eyes, on pain of metamorphosis, as happened to Actaeon myth recounted in "Metamorphoses" of Ovid, into something that has nothing more human, turned into an animal, a deer, chased and mauled by dogs that he owned.
Stefano Guerrini has revisited his work with the myth of Diana and Actaeon, he played on the image of the virgin nymphs and the goddess of the hunt, they bathe in the lake, reported their purity out of their own: the water Clear has been transfigured and installing a metaphor that hides and conceals part of the visitor, spiarle forced to open a hole in the structure, but at a distance.
The structure is protected by chains and stakes road forbid us to go further, warning us not to go to fully in contact with the structure "sacred" built with hundreds of laundry soap.
The smell is strong, suddenly we find the hole, poked around inside the temple and here they are, the nymphs, and Diana in a picture painted by the Cavalier d 'Arpino, or rather, one can see while they perform their ablutions in the waters regardless crystal. We're watching the
as he did and Actaeon know that they are pure, we sense the smell.
curious look but can not be relaxed, there's something terrible waiting for us, we have led up to it, the sacred and inviolable, the dogs had warned us, the poles and chains that separate us we had been warned, peace emerges smelling with vehemence, but the sight and hearing us create a disturbing feeling, Diana , the sacred being ready to punish us and our prayers will be worth nothing, nothing in our approach or move away to the temple. The same purity
submitted to us by the artist using the soap but this is the same truck that obscures vision. Only a small hole from a missing bar of soap, and nothing more, it allows us to glimpse the nymphs. The Sacred
get angry if the eye goes beyond what is conceivable and not visible must remain so, it will be terrible pain caused to those who seek in vain to know and see.
Both the man of ancient Greek myths that modern man is unable to participate in the sacredness and "intolerance of Diana" reminds us how vulnerable we are to the divine.
Stefano Guerrini has reworked the myth involving three senses of the viewer, having hearing and smell, perhaps we would have liked also that the tact was participating? If only it were not for the chains red and white, we could reach out and touch the temple, but the artist knows that man can not dare so much.
not forget that Adam and Eve, for the taste, the last effect, we have did cast out of heaven and we have "won" the original sin.

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Du Bos and the function of art

In his "Critical Reflections on poetry and painting" (1719) Du Bos equates the aesthetic arts, with the psychological and sociology, to highlight what the art is not and can not be independent from man, but always in relationship with him.

not investigating the ontological factor, Du Bos, wonders what the purpose of art: art is a cure for unhappiness tear giving us a pure pleasure and privacy, therefore, of real and "dangerous" passions, which could put the human spirit in crisis.

The starting point is that man needs distraction to have the mind constantly occupied, not to fall into boredom, a condition extremely dangerous for individuals.

Two roads can be traveled, that of reflection and that of the hearing, the first is not accessible to all, is not easy to have the ability to think about themselves, but surely the distraction is just as enjoyable and safe feeling , easy for any man.

must feel, but without the risk of falling into unpleasant and enduring passions are difficult to govern, and that is that art can make us feel passion, but always keeping us alert and allowing, in every moment, to our will and reason to govern those passions, too, that there transmit the art.

Art becomes essential for human life. The news was another of Du Bos, in addition, to broaden the concept of a public, all being able to "feel" and pleasure, the feel and taste belong to all humanity, all men are equal by the "reasons of the heart," not only a certain elite can enjoy art.

But what the artist, the genius, must show to the public, in order to effectively carry out its task of movere et delectare minds?

Genius must depict human suffering are able to move us, referring to the image of "De Rerum Natura" of Lucretius, it is pleasant to sit on the beach safe, while you see a shipwreck in the distance.

What is genius? It is a gift, a natural gift also deriving from physical causes, geographical, climatic and socio-historical, is not yet as a creator will be in 1800, but it is a discoverer, he and only he knows what to "paint" to make us feel emotions.

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Plato's unwritten doctrines and John-Royal

John Royal is one of the greatest scholars of ancient philosophy, he believes in it, the Western man, to find and recognize, and then recover to their roots of thinking.

He argues that, to free us from every evil that produced the nihilism in the soul of man, it is necessary to return to the wisdom of the ancients.

he recovers, then, great classics such as Socrates, Aristotle, Plotinus and Augustine S, but in particular, his deep love, and a meeting point between the metaphysics of classicism and modernity, can not to be Plato.

In the Platonic dialogue, the Phaedo, where Socrates is forced to drink the hemlock, Plato deals with the soul. Basic

the final in which the Socratic philosopher, having already swallowed the deadly poison, exhorts his disciples to offer a cock to Asclepius in token of thanks for deliverance from life, the soul is immortal here is the meeting point and the continuum between the Greek and modern Western metaphysics, which passes and strengthens from medieval philosophy, scholasticism. Royal

places in Italy, a new study of Plato, while undermining the romantic idea of \u200b\u200bthe philosopher, going back to Schleiermacher, re-evaluating the unwritten doctrines, they are talking about the disciples of Plaotne, certainly from a trusted source such as that of Aristotle.

But Plato is basically stating that his doctrine must be sought elsewhere, but perhaps the most tangible proof yet that these are the writings of the philosopher to "require a further doctrine, esoteric and probably not accessible to everyone: can the body of the Platonic writings do not present a systematic units?

Perhaps, then, rightly, the true should be sought in Plato's "unwritten doctrines" (or perhaps it would be more correct to say that should be found these doctrines in other works by followers of Plato).

Royal stsso, which supports precisely the presence in Plato's philosophy of some "esoteric" does not speak, however, initiation of studies but, the truth and doctrines that were offered only to the disciples' s Academy.

clear and, therefore, that no mention of any "Platonic sect," no "Platonic mystery cults," though it might be interesting and attractive bike.

Cè been, and there will probably be a dispute between supporters of the esoteric and the anti-ersoteristi Plato, an early advocate of the actual doctrines of "secret" and the latter in seeking the philosopher Plato, and only within, of what has survived until today.

but unfounded, if you read the letter VII of the Phaedrus, Plato states that the script can never represent the most serious thing for the philosopher, if it is truly such, will refrain from writing things of real value.