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Copyright of Revista Mediacoes is the property of Universidade Estadual de Londrina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Intersecoes: Revista de Estudios Interdisciplinares is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims at contributing to the contemporary debate on the relationship between poetry and philosophy by recovering - under a historical perspective - some elements of aesthetic reflection on Stefan George’s poetry. In the controversial "Stefan George and his Circle" hermeticism and aestheticism are present, as well as the renewal of the lyric verse through the revaluation and the poet's craft. In defense of pure poetry, George's lucid diction tensions the boundaries of the lyric beyond the romantic subjectivity toward word objectivity. In the early twentieth century, philosophers such as Simmel and Lukacs examine whether George’s lyricism was modern or classic; whether it is an expeimental production deriving from a non-subject. Philosophers such as Simmel and Lukacs examine in the early twentieth century George's lyricism was modern or classic: an experimental production from a non-subject imagery to argument and common uses of language, or whether there was a metaphysical relapse, the new "reintegration of the idea" in poetry.

In this paper we will ponder the problem of the individualism through the individuation, pointing out the implications on the idea of “individual”. It attempts to find a theoretical way that allows a broader understanding of its role in human societies It will be suggested that the emphasis placed by modernity in the individual can be evaluated, not as a solipsist individualism, but as a figurational form specific of social contexts characterized by a wide objectivation of the social tissue. That means that beside individualism we can think individualizations through the seminal setting of individuation. This hypothesis is already insinuated in the German sociological thought, in particular, in the sociology of the social forms of Georg Simmel and in the process sociology of Norbert Elias.

RESUMO: Este artigo analisa a figura de Cristo em A ressurreição de Lázaro(1630/31), de Rembrandt, sob a ótica do pensamento de dois intelectuais do século XX: Georg Simmel e Mikhail Bakhtin. A fundamentação teórica que norteia a análise parte dos conceitos de autor-criador e heroi, construídos por Bakhtin. Pretende-se a partir desses conceitos mostrar os pontos de contato entre o pensamento de Bakhtin e Simmel no que se refere ao modo como veem a representação de Cristo no evento estético. ABSTRACT: This paper investigates the figure of Christ in “The Resurrection of Lazarus” (1630/31), by Rembrandt, from the perspective of the thought of two intellectuals of the twentieth century: Georg Simmel and Mikhail Bakhtin. The analysis based on the concepts of author-creator and hero in the aesthetic activity, built by Bakhtin. We aim to briefl y approximateBakhtin’s and Simmel’s theories in relation to the way to seeing figure the Christ in aesthetic activity.