The Comparative

Beyond the mundividncias presented here, Dilthey argues concerning the mundividncia of the primitive Christian art, that in the generality, if it bases on the symbols that later they will go to serve of base for the formation of the Christianity and institutionalization of the Catolicismo, its essential arqutipos are Jesuses and Maria produced by the religious art. The vital references if convert into the possibility of emancipation of the images of the world, that after that if they accomplish in the limits of the conceptions of the catolicismo, of the art in the Renaissance, the protestant reform that the conscience of the sacerdotal hierarchy unfastens in part it inserts and it in the freedom for the work. In the movement of the Against-Reformation that she searchs to retake the domination of the image of the world through the ecclesiastical beddings of the religion and the church catholic. All these and other posterior manifestations of the human spirit lead the formation of a chained only structure of the mundividncias, constructed around the values and meanings of the mundividncias. However, the same ones lock up latent antagonisms, therefore all search to determine in permanent way the basic content of the life; but, arcabouo symbolic or conceptual of mundividncias appear conditional for the present situation of the conscience before history of the existence human being. In opposition to a static image of the world, she is necessary to think the human being while to devir of the spirit. However, Dilthey exception that the proper idea of development of the life applied for the comparative procedure of the mundividncias emanates contradictions, although not to unchain the logical exclusion them systems that if they base on the beginning of the contradiction. Not obstante, Dilthey points the following solution to surpass the contradiction: ' ' The life is plurality of aspects, transistion for the real opposites, fights of forces.