En la presente tesis se estudiará el rol que juega la música en el estilo y pensamiento de Agustín de Hipona y se tratará de vislumbrar cuál es su importancia. Para desde allí abordar el problema ulterior que surge con la noción de creación desde la nada (creatio ex nihilo). El cual pregunta ¿cómo pensar la posibilidad de la relación entre lo eterno y lo temporal teniendo en cuenta una distancia ontológica infinita entre el Creador y lo creado? Con respecto a ello se logrará ver finalmente que al incorporar el enfoque musical se abren horizontes de interpretación renovadores en torno al pensamiento de Agustín y cierta luz a la problemática de la creación. En ese sentido, el tema principal es la música como componente esencial en el estilo y pensamiento de Agustín que da como título el Canto de Agustín: la modulación entre el silencio y el discurso. A dicho tema se p...

En la presente tesis se estudiará el rol que juega la música en el estilo y pensamiento de Agustín de Hipona y se tratará de vislumbrar cuál es su importancia. Para desde allí abordar el problema ulterior que surge con la noción de creación desde la nada (creatio ex nihilo). El cual pregunta ¿cómo pensar la posibilidad de la relación entre lo eterno y lo temporal teniendo en cuenta una distancia ontológica infinita entre el Creador y lo creado? Con respecto a ello se logrará ver finalmente que al incorporar el enfoque musical se abren horizontes de interpretación renovadores en torno al pensamiento de Agustín y cierta luz a la problemática de la creación. En ese sentido, el tema principal es la música como componente esencial en el estilo y pensamiento de Agustín que da como título el Canto de Agustín: la modulación entre el silencio y el discurso. A dicho tema se p...

The present work aims to show in a simple way the concept of hubris in ancient Greece through some of its most representative authors. It seeks to understand the importance of this notion nowadays and the warnings its consequences present to us. We will see that hubris makes an appearance in Homer, in the rage of Achilles; in the poets, in the nature of extreme pride; in Plato, in the excessive desire for pleasure; and in Aristotle, in the cruelty towards another for the sole pleasure of seeing him suffer. To this end, we will examine the evil that the Greeks discovered in human nature, and we will see that, although buried in oblivion by the modern man, hubris in the form of pride and excess can be present in human acts, even if we can no longer recognize it.

The quest for God has been a major one in the ancient world. And the question about God as Principle, one of the most important and interesting among the classics. Among the conceptions of God, the Augustinian one considers him as a personal God and as the Being itself. In his De Musica, there is an epistemological path through the rhythm to the eternal harmonies which are in the Being. How is the ascent of the soul possible? Which path did he indicates? This article tries to explain both subjects. First, we will analyze the ascent in Augustine and then how that ascent is possible through rhythm to the eternal harmonies.

The present work aims to show in a simple way the concept of hubris in ancient Greece through some of its most representative authors. It seeks to understand the importance of this notion nowadays and the warnings its consequences present to us. We will see that hubris makes an appearance in Homer, in the rage of Achilles; in the poets, in the nature of extreme pride; in Plato, in the excessive desire for pleasure; and in Aristotle, in the cruelty towards another for the sole pleasure of seeing him suffer. To this end, we will examine the evil that the Greeks discovered in human nature, and we will see that, although buried in oblivion by the modern man, hubris in the form of pride and excess can be present in human acts, even if we can no longer recognize it.

The quest for God has been a major one in the ancient world. And the question about God as Principle, one of the most important and interesting among the classics. Among the conceptions of God, the Augustinian one considers him as a personal God and as the Being itself. In his De Musica, there is an epistemological path through the rhythm to the eternal harmonies which are in the Being. How is the ascent of the soul possible? Which path did he indicates? This article tries to explain both subjects. First, we will analyze the ascent in Augustine and then how that ascent is possible through rhythm to the eternal harmonies.