At the same time where it limits in them, it is the body that in the sample the possibilities of the freedom. On the other hand, Sartre refuses the materialism determinista, because, if everything was reduced to the substance, it would not have conscience, and, therefore, it would not have freedom. This corporeidade that if relates with the freedom implies that the freedom can, yes, to be definite for the concrete situations. If, as object, the freedom cannot if presenting in them fenomenicamente, we can at least having contact with the particular cases of freedom. Each particular case where we identify the freedom can be considered as a manifestation of the freedom. If it cannot be seen as ‘ ‘ coisa’ ‘ , this if of because it really is not a thing, but something that is only presented from the human behavior. In this direction, we cannot understand the freedom seno in its empirical manifestation, it wants staff, it wants intersubjetiva.
Concluding this quarrel, in which many elements we leave propositalmente in open, we can consider that the man, while existing, only can really define itself from its existence. The freedom, that is the essential factor for this definition, is the point limit that exceeds proper itself, showing that, if we have at least some determination, is to be free.
The true end of the State is, therefore, liberdade.' '. Soon for Espinosa, the end and the bedding of the State reason to say what is the Freedom according to it is thought and to teach what it is thought, freeing the men of all fear. In the base of ' beddings of the Estado' State that has finally the Freedom? it is clearly where measured each one can usufruct of ' freedom of opinio' without injuring the power of the sovereigns? that it is the same to be able that guarantees the freedom. For Espinosa if it considers that ' fidelidade' to the State it is as ' fidelidade' the God, and that he is ' fidelidade' he only can be demonstrated, alone can be known by the workmanships, the love he stops with the next one, he must leave itself clearly that the freedom that the State offers, or must offer, is the same freedom of ' ' to filosofar that the faith oferece' '. For the reason, in ' ' State bom' ' , the thought freedom must be allowed, therefore after all it is a power that if cannot deny, and that it makes sciences and the arts well, that make well to the advance of sciences. The advance of science alone can occur if the freedom of ' ' pensar' ' it will be established with success inside of a State. Good part of the men, for thinking one of the others differently, does not support that they call ' delito' what it calls ' mercy stops with Deus' , and if this happens, if this occurs thus it makes its thought to be different of the established laws will make with that it does not like them laws, also making with that such man the times if judges to be able to go against? with violence? being able inside established to them of a State, but it will have to be shown who will not be able to act thus for thinking different.
It reappears in the modern version of the myth. This inteface politics in the baudelariana poetry appears considering the hierarchic position and pointing the libertarian direction, a time that the system abandoned the guard of the small things. For Benjamim it is necessary to reassume the allegiance to the particular one. The universal one cannot be given by measured, the universal one is the idea. This desproporo between universal and the particular one must be fought by the image dialectic. They reconstitute the world from its fragmentos.
In mentality of the baroque one for each idea exists an idea, different of the image contemporary. The baroque drama (trauesrpiel) is in the reading of Benjamim an idea and as idea of the beauty leaves to scintillate the truth (die Wahrheit) of the time. Knowing of the necessary beauty to be transformed into wisdom. The paper of criticizes is to test what it has of truth in the work of art. The beauty that coincides with the truth. The bias of the philosophical, analytical and logical tradition rational only values the knowledge that passes for the selection of science. While the alegorista in the art says the being in its totality, not more in the incapacity of the logic to read the mystery of the world. As emblem of this to know it (to give Allegoriker) venerates the image that is monograma of the Ser, of this form foreseen for the totality of experiences that can be become fullfilled or not. The image brings an enigma. The drama characterized for the image in the baroque one had the necessity of fixidez and sign, but this fixidez is only as a flash of a camera, its against face, the esbanjamento (Verschwendung) a characteristic of the baroque one, this storage of the direction (Scrhifibild) is present in all exagero of the baroque one in the images.