Introduction: in this study, Cebral Loureda analyzes how will and desire are conveyed in: Ethics, by Spinoza; The Phenomenology of Spirit, by Hegel; The World as Will and Representation, by Schopenhauer; and Thus spoke Zarathustra, by Nietzsche. With the idea of determining theses texts’ degree of cohesion, the author follows a computational and quantitative methodology to compare and contrast them, as well as assess their internal contradictions. A normalized corpus, statistics and visualizations are employed so as to evaluate the terminology, topoi and sentimentality of these works. In relation to terminology, author’s findings revealed that Nietzsche uses a highly differentiated vocabulary from that of the other philosophers, adding marked emotional connotations to his discourse. Visualizations showed the terminological commonalities between Hegel and Schopenhauer and shed light on the former bearing the highest number of semantic connections with the other philosophers. As for topoi, results showed there is a clear dichotomic tension between conceptual and vital experience in the studied documents. Redefining this dualism, however, Cebral Loureda observed that the concrete is always intertwined with the abstract and vice versa. Regarding the sentimental dimension of these works, examination unveiled that Nietzsche’s presents the greatest negative sentimental load. In contrast, Spinoza’s is the most emotionally balanced. With all this, Cebral Loureda proves that there is a high degree of cohesion among these philosophical works, which link reason and emotion to will, time and spirit, core notions of modern philosophy and society.
Introduction: In this paper, Ehrlicher et al. follow a quantitative approach to unveil possible structural parallelisms between 13 comedies and 10 autos sacramentales written by Calderón de la Barca. Comedies are analyzed within a comparative framework, setting them against Spanish comedia nueva and French comedie precepts. Authors employ tool DramaAnalysis and statistics for their examination, focusing on: word frequency per subgenre, average number of characters, their variation and discourse distribution, etc. Autos sacramentales are also evaluated through these indicators. Regarding comedies, Ehrlicher et al.’s results show that Calderón: a) plays with units of space and time depending on creative and dramatic needs, b) does not follow French comedie conventions of character intervention or linkage, but c) does abide by its concept of structural symmetry. As for autos sacramentales, their findings brought forth that these have a similar length and character variation to comedies. However, they also identified the next difference: Calderón uses character co-presence in them to reinforce the message conveyed. Considering all this, authors confirm that Calderón’s comedies disassociate from classical notions of theatre – both Aristotelian and French –ideals. With respect to autos sacramentales, they believe further evaluation would be needed to verify ideas put forward and identify other structural patterns.