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The Golden Age

The 'Golden Age

The test is not that what a child
complained of having grown
Vincenzo Cardarelli

related to the idea of \u200b\u200bUtopia are to Golden Age. Countless are the authors that we speak from classical greek Roman, Old Testament, from the Neo-Platonic philosophers of the Renaissance to the Wizards to finish the German romanticism of Holderlin to Dostojeskij. And 'the poet Hesiod that we owe the development of this myth narrated in the works and days and then taken up by the fourth of Virgil Eclogues (42-39 BC).
The common denominator of these stories about places (blessed isles in the Atlantic then generally the Arcadia in Greece)-rich meadows, flowers, nymphs, satyrs, fruits offered by nature, spontaneous love. This is a 'back-dated and nostalgic utopia, literary and mythological origin who speak of an age characterized by the perfect union and harmony between the human and the divine. Remote time in which man was given life in a manner similar to the gods, free from any need, free from grief and pain. The golden age is an age earlier than the time inscribed in a meta story consists of an eternal present happy. When Plato, in Timaeus and Critias describes a happy Athens, he did not think of a future city, but that was nine thousand years before and whose secret is lost in time. In this case, the regret for the lost paradise is reunited with the theme of utopia. Utopia, which is attached to the memory of a legendary past, the fundamental and foundational value. The use of an imagined time is ahistorical and often giving rise to this thought. It legitimizes the theories and dogmas that set the conditions for rational justification in social, moral or political solutions, or unsustainable.
Utopia draws strength from the myth and thus it seeks its foundation. As if to say that the ideal dream of the future must draw inspiration from a past ideal.
The Golden Age about a mythical childhood of humanity characterized by a time eternal as opposed to the old men. Formerly located at the top and outside of becoming. The golden age is the ideal place of metamorphosis, where nothing is yet stabilized, yet promulgated any rule, no form yet fixed, where men turn into animals and vice versa, where the universe is eternal. The age of Saturn and Cronus where live, joy and sorrow, light and darkness (coincidentia oppositorum). Returning to this period of humanity means finding a sacred unity with the cosmos, to restore the link with the fabulous universe, with the beyond, with the ancestors, free from the moral law which requires us to live adult. This myth is a reference to childhood as the prehistory of life in which you can feel the thrill of a deep contact with nature, a feeling of communion with all things, is the stage in life where we have not yet incurred the assumption heideggardiano being to death.
of the cosmos is animated by the presence of God and a living nature, aware and involved in human affairs. This myth speaks of a covenant between man and nature that is the antithesis of the gap existing in the town. The golden age is before the expulsion from Eden. In this time conceived the alliance between man and God has not yet been broken, so do not give birth in pain and suffering of even one dies. There is no death, no beginning and no end. The arguments put forward by the various myths of the golden age is the happiness of the ancient sung by Leopardi, whose every move is thought of as if it were dictated by a primitive irrepugnabile inclination manifested directly to early childhood.
The theme of the return to a mythical childhood in which there is an authentic contact with nature and the gods will be the reason a lot of romantic literature that will give life to an idea of \u200b\u200butopia as an escape from reality.
Thanks to this myth of the reappear and we, like them, become timeless beings, just like the two protagonists lovers Ode to a Grecian Urn Jonh Keats.
Bold lover and victorious, you can never ever
kissing
while near the middle, yet Do not worry: She can not fade
and, while never satisfied,
that you will love forever, forever beautiful.

Their love carved in marble is intended to be eternal and incorruptible .. In their world in their time and there is regret for things lost because all, imperishable, is equal to itself. Failure to meet their lips, the kiss is more beautiful than ever-as is the attempt to crystallize a love which, suspended, refused the lure of historical time. A representation of utopian
near perpetual of a meeting that becomes eternal thanks to a distance impossible to fill. In
stretched lips that never touch coexist so ambivalent love for life and the terror for the same.
The output from the time of myth and childhood means to leave what has been accepted and the opening of a horizon at which the story declined according to a before and an after.
Ah, branches, twigs happy! They will never be scattered
Your leaves, and never say goodbye to spring
J. Keats, Ode on a Grecian Urn.
Men live a time that is what the gods. There is no death, no beginning and no end. A suspension by the turmoil of the world, a state of grace, a free happiness in every man in illo tempore enjoyed.
It 'just that the Golden Age theme, namely the return to an ur-zeit in which it is possible for a happy life in communion with the divine.

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We are men or general?

It is perhaps no coincidence that as I write these lines I am reminded of the School of Athens by Raphael. In this fresco the gesture of Aristotle and Plato are exactly signify the dual propensity of Western thought in looking at things and that is the ephemeral world as indicated by Aristotle el ' instead it is imperishable ideal for Plato. Two movements that indicate basically two different conceptions of life. As Coleridge would say, men are born Aristotelians or Platonists. For the first reality are not abstract concepts while the latter's world is nothing but a faint echo of another place where everything is perfect. But these differences in the propensity to look at the earth or the sky opens up another important issue that affects the discourse on the nature of utopian thought and that is the relationship between the individual and the general, between the individual and the ideal of individual. The Aristotle rejects the generic / ideal because it considers the individual irreducible and without equal. An ethical qualms prevents him from being with abstractions. The Platonic look with regret on the contrary, the finite nature of man and aspire to understand the signs of a universal law, since for him the universe is an ordered cosmos. There are two main strands of thought that often, over the centuries, have battled, mingle together. They want to say, Aristotle and Plato on the one hand Aristotle, Locke, Hume, William James on the other Plato, Spinoza, Kant.
These two visions of the world have celebrated the first triumph of reality as a criterion for discrimination between place and place actually reached an illusion to believe the reality is the only true place, the other the idea a need to overcome the human condition in an absolute perspective, the sometimes illusory hope of a deliverance from the evils of existence both at the individual level, both politically and socially.
But perhaps the problem lies in not seeing these two separate and irreconcilable thoughts but, rather, as two experiences that are often contaminated and completed. Utopia without a grounding in reality would become an intellectual exercise but a matter of life eminently tied to reality without utopian impulses could become a set of behaviors without a soul. Niccolo Machiavelli, from this point of view, is a compendium of utopian impulses and sense of reality that is expressed through the maximum according to which the means justify the ends. In The Prince, dedicated to Lorenzo Piero de 'Medici, utopia does not affect a place, but an individual. Prince concentrates in itself the virtues and taste and is committed to the state government with the same spirit of an artist who is dedicated to a 'work of art. As stated Galimberti utopia becomes an opportunity to correct or supplement an existing religious or political situation. So it's not just an exercise in intellectual abstraction or a dream generic, but a force of transformation of the reality on the art of making possible change. In this sense, Crespi (1996) argues that utopia can be a 'openness to non-mystified possibility of different realities from those so far tested.

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Where everything is order and beauty
Shiva an essay on the idea of \u200b\u200butopia ou topos (literally, no place) means at least confront the issue of remoteness, the limit beyond which we can not go but in the way of the dream. And to think away the means to give shape and form to what is not visible, accept the challenge of creating a new syntax, welcome to our new images in a move to a new time and new spaces that are imaginative. Everyone has dreamed at least once the existence a stable world, real estate, intangible, untouched, unchanging in their purity. Places that could become points of reference, a paradigm for our lives and our conversations around it. At times during childhood, our life seems to possess such a complete and impermeable to change. Well, speak of utopia is a task that concerns our need to stand up to the fragility of life and sense of impermanence that comes from our nature as finite individuals. Then build worlds, real or imagined, as is said Magris (2005) build an embankment to the spread of anything, put a limit to our existential angst. We know that time will consume (Memento mori!), Will destroy us and in a few years look like nothing more than what we are and who we were. Nothing will look like what it was, the memories betray us, our ideals at the appearance of the real fall. Utopia thus, in its various forms, becomes the antidote to this loss, an attempt to mourn the pilgrimage through the realms of elsewhere, between the visible and invisible, natural and supernatural. Here then are shaped imaginary town created by the imagination of writers and poets, sites located beyond the boundaries of the world or projected in the afterlife (afterlife or fiction), traditional places and places of the future. Imagination is the ability to go beyond the limit, of evoking the unusual, and broke the fences in this sense of pure reason. So in the words of Ernst Bloch, the utopian tension concerns the gap between what we are and what we would love to be, our deep need for a viable future, however distant and sometimes inscrutable. Utopia, in this sense has a double meaning: it is present in us, as the completion of a man who has never yet been born, the 'homo absconditus, and is external to us as a country, where we have not but we feel like we were, as the end of our journey. It becomes an a-priori, in fact, that we are born we question the meaning of life and this question is implicit in the quest for a victory over the nonsense that opens to the historical and existential horizons tend to regenerate man in a superhuman perspective. Utopia is in essence the answer to the Gospel Deus meus, deus meus, ut quid dereliquisti me?, An attempt to overcome the pain of Good Friday in the hope of Easter can open a completely different worlds and to oppose the fear of death. As if that distance traessimo the strength to live the transience and finitude of human time. Travel far with the imagination to overcome the pain of the world and make it less heavy our mortal nature. Utopia then as the tool that allows us to overcome the silence of emptiness, abstraction becomes the other side of life, the imaginary world that accompanies man without transcendence. The worlds of utopia are formed with a specific language, and then the problem becomes that of its representation. Real things, under the pressure of desire, are transfigured by a second view to be able to create alternative worlds.