scholarly journals Pneumatic Episodes from Homer to Galen

2021 ◽  
pp. 37-54
Author(s):  
A. A. Long
Keyword(s):  
Epic Poetry ◽  
Ancient Greek ◽  
Animal Life ◽  
The World ◽  
Mind And Brain ◽  
Health And Sickness

AbstractThe ‘pneumatic episodes’ of Long’s essay survey ancient Greek ideas about breath (pneuma) and respiration, starting from Homer’s epic poetry and concluding with Galen’s medical ideas about the uses of breathing, and the pathologies of breathlessness. These ancient authors explored vital connections between breath, heart, mind, and brain. They also considered how breath functions to control the body’s temperature, how animal life begins with breath, and why breath and breathing are symptomatic for health and sickness. Their influential thoughts resonate with this book’s generic themes, especially breath’s centrality to inhabiting and understanding the world.

Sandra Ramos Revisited

2020 ◽  
Vol 2 (4) ◽  
pp. 32-54
Author(s):  
Silvia Spitta
Keyword(s):  
United States ◽  
The United States ◽  
Ancient Greek ◽  
Graphic Arts ◽  
Left Behind ◽  
The World ◽  
The Usa ◽  
Political Choices ◽  
The Rich

Sandra Ramos (b. 1969) is one of the few artists to reflect critically on both sides of the Cuban di-lemma, fully embodying the etymological origins of the word in ancient Greek: di-, meaning twice, and lemma, denoting a form of argument involving a choice between equally unfavorable alternatives. Throughout her works she shines a light on the dilemmas faced by Cubans whether in Cuba or the United States, underlining the bad personal and political choices people face in both countries. During the hard 1990s, while still in Havana, the artist focused on the traumatic one-way journey into exile by thousands, as well as the experience of profound abandonment experienced by those who were left behind on the island. Today she lives in Miami and operates a studio there as well as one in Havana. Her initial disorientation in the USA has morphed into an acerbic representation and critique of the current administration and a deep concern with the environmental collapse we face. A buffoonlike Trumpito has joined el Bobo de Abela and Liborio in her gallery of comic characters derived from the rich Cuban graphic arts tradition where she was formed. While Cuba is now represented as a rotten cake with menacing flies hovering over it ready to pounce, a bombastic Trumpito marches across the world stage, trampling everything underfoot, a dollar sign for a face.

Θεωρία in Ancient Greek Exegetical Literature

2020 ◽  
pp. 85-104
Author(s):  
Борис Тимофеев
Keyword(s):  
Mystical Experience ◽  
Near East ◽  
Literary Form ◽  
Traditional View ◽  
Ancient Greek ◽  
Symbolic Form ◽  
Near Eastern ◽  
The World ◽  
Genesis 1 ◽  
Book Of Genesis

Современная научная богословская мысль склонна к унификации терминов и явлений в сфере своих компетенций. Эта тенденция в современных исследованиях в некоторых случаях распространяется и на древние христианские памятники. Так, например, слово θεωρία многие учёные определяют как мистический метод духовного толкования Священного Писания. Это определение нередко применяется в качестве универсального технического определения при анализе экзегетических произведений древних авторов. При этом игнорируется узус самих экзегетов, которые употребляют это слово в иных значениях. В рамках данной статьи предпринимается попытка выявить и показать основные значения слова θεωρία в древней греческой экзегетической литературе. The article deals with the theology, composition and literary form of the narrations which constitute the prologue part of the book of Genesis (1, 1-11, 26). During the second half of the 19th and at the turn of the 20th cent., following the emergence of the Documentary hypothesis as well as the comparison of the Holy Scripture with the newly-discovered literary monuments of Ancient Near East, the greater part of the narrations that constitute the Prologue were labeled myths and ancient Hebrew folklore (J. Wellhausen, H. Gunkel, J. Frazer). In addition to the then detected Near Eastern parallels, this new attitude towards the narrations of the Prologue was fostered by its lack of a clearly expressed historical dedication and the symbolic form of their exposition. Defending the traditional view of the Prologue as sacred history and prophetic revelation, bishop Kassian (Bezobrazov) proposed to consider all the biblical narrations that contain theophanies as metahistorical. Archpriest Sergey Bulgakov, A. F. Losev and B. P. Vysheslavtsev, who analyzed the phenomenon of myth-making, called the Biblical narration of the origins of the world a myth, but in a sense different from that proposed by Gunkel and Frazer. They have founded a new and positive conception according to which a myth is not fi but rather a kind of reality based upon mystical experience. The author of the article analyzes each of the terms enumerated - «history», «myth», «metahistory» - in their use relating them to the Prologue; he also examines the possibility of their harmonizing with the traditional ecclesiastical view of this part of the book of Genesis.

Tawus Protogonos: Parallels between the Yezidi Theology and Some Ancient Greek Cosmogonies

2014 ◽  
Vol 18 (1) ◽  
pp. 27-45
Author(s):  
Artur Rodziewicz
Keyword(s):  
Genetic Relationship ◽  
Early Christianity ◽  
Ancient Greek ◽  
The World

The paper concerns some crucial issues of theology and cosmogony of the Yezidis, which have distinct parallels in the writings of the ancient Greeks. A startling coincidence of certain topics and the manner of approach can lead to the conclusion that the Yezidi theology and mythology seem to have a distant genetic relationship with the Greek theology, or―which is also possible―we are dealing with distinct independent inscriptions of the same ideas, meaning here the highest factors governing the world. The paper also contains references to similar topics in the literature of Early Christianity and Gnosticism.

The Boat of the Dead in the Bronze Age

Antiquity ◽  
1941 ◽  
Vol 15 (60) ◽  
pp. 360-370 ◽  
Author(s):  
L. V. Grinsell
Keyword(s):  
Bronze Age ◽  
Pacific Islands ◽  
Ancient Greek ◽  
The Pacific ◽  
The World ◽  
The Dead ◽  
The Bronze Age

In many parts of the world and at many periods the practice has prevailed of depositing boats, or models or other representations of them, with the dead, either as a means of facilitating his supposed voyage to another world, or as a symbol of his maritime activities during his lifetime.That the former is generally the correct explanation of the custom there can be no doubt. This is shown by the evidence of the belief in a voyage to a future world, and the customs to which it has given rise, among living primitive peoples in the Pacific Islands and elsewhere, so well collected and presented by the late Sir J. G. Frazer. It is shown also by traditions such as that of our own king Arthur's journey by barge to ‘the island valley of Avilion, where falls not hail, or rain, or any snow’ It is shown also by the ancient Greek and Roman custom of placing a coin in the mouth of the dead to pay Charon's fee for ferrying him across the Styx.

scholarly journals Reconstruindo sentidos na interface de histórias: uma discussão fenomenológico-existencial da constituição do sujeito borderline

2009 ◽  
Vol 15 (2) ◽  
pp. 133-144
Author(s):  
Anna Karynne da Silva MELO ◽  
Georges Daniel Janja Bloc BORIS ◽  
Violeta STOLTENBORG
Keyword(s):  
Life Story ◽  
A Priori ◽  
Borderline Personality ◽  
Gestalt Therapy ◽  
Disease Classification ◽  
Existential Phenomenology ◽  
Borderline Disorder ◽  
The World ◽  
Borderline Patients ◽  
Health And Sickness

This paper discusses a clinical case of a 40 years old woman, diagnosed as a borderline personality disorder, conforming to CID-10 (2003). The paper proposes, by a concrete clinical experience, to discuss the phenomenological and existential psychopathology. At first, it describes borderline disorder according to existential phenomenology. So, the authors discuss the conceptions about the relation between health and sickness in Gestalt-Therapy and Daseins-analysis, trying to understand the way of 'being-in-the-world' and the constitution of the psychopathological phenomenon in borderline patients from the perspective of the construction of his life story, that is unique. At the end, the authors detach the great challenge of existential-phenomenological psychotherapist: putting the patient's clinical picture in stand by 'a priori' and considering how she expresses herself and sees the world, giving up the mere disease classification itself.

scholarly journals Theophany in the Old Testament and its Interpretation in Aramaic Translations (The Concept of the Divine Word in the Targum)

2007 ◽  
pp. 27-37
Author(s):  
Dmytro V. Tsolin
Keyword(s):  
Old Testament ◽  
Epic Poetry ◽  
Material World ◽  
The World ◽  
Genesis 1 ◽  
History Of ◽  
Repeated Use ◽  
The Creation ◽  
The Universe ◽  
Experienced Researcher

Every reader of the Old Testament, both experienced researcher and newcomer, cannot fail to pay attention to one peculiarity in the presentation of the idea of ​​God: it is a harmonious (and, at times, amazing) combination of transcendence and immanence. The History of the Creation of the World (Genesis 1: 1 - 2: 3), which begins the first book of the Strictly Testament - Genesis - is an example of an exquisite prose genre with elements of epic poetry. In it, the Creator of the Universe appears to the Almighty, the Wise, and the All-Powerful, standing above the created world: Only one word of it evokes the material world from nothingness. This is emphasized by the repeated use of the formulas אלהים וימר / wa-yyo'mer 'ělohîm ("And Elohim said ...") and ויהי־כן / wa-yəhî khēn ("And so it became"). This use of two narrative constructs at the beginning and at the end of messages about the creative activities of God clearly emphasizes the idea of ​​reconciling the divine Word and being. God is shown here to be transcendental.

scholarly journals FROM PROMETHEUS TO AMRAN: ON THE CHAINED HERO IN THE OSSETIAN EPIC

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Р.Н. АБИСАЛОВА
Keyword(s):  
Greek Mythology ◽  
Ancient Greek ◽  
The Caucasus ◽  
National Myths ◽  
The People ◽  
The World ◽  
History Of ◽  
Ancient Times ◽  
The Difference

В статье рассмотрен один из мотивов осетинского Даредзановского эпоса – мотив прикованного героя, еще в древности вошедший в мифологию, фольклор, литературу многих народов и получивший название «мотив Прометея». Образ Прометея относится к «вечным образам» мировой художественной культуры. История прикования и освобождения Прометея и в древнегреческой мифологии, и в трагедии Эсхила позиционируется как топонимически привязанная к Кавказу. Именно здесь сюжет о наказанном Богом и прикованном богатыре получил распространение в национальных мифах и эпических преданиях – грузинских, осетинских, кабардинских, абхазских, вайнахских, армянских и др. Эти лаконичные предания об Амиране-Амране, по мнению Вс.Ф. Миллера, – кульминационные во всех источниках, рассказывающих об этом герое. Рассмотрены как древнегреческий Прометей, так и кавказские, в первую очередь осетинские, прикованные герои, представленные в работах Вс.Ф. Миллера, Г.Н. Потанина, Дз. Гатуева, Д.А. Калоевой, З.Г. Тменовой, Ю.А. Дзиццоты, Х.Ф. Цгоева и др. Образ Амирана сравнивается с соответствующими ему героями кавказских эпосов. При всей схожести мотивов богоборчества и наказания героя прикованием к скале или столбу нельзя не отметить отличия осетинского Амирана от остальных. В Даредзановских сказаниях он героическая личность, истинный богатырь, совершающий множество подвигов, побеждающий великанов, помогающий всем нуждающимся. Сын племянницы Бога, герой близок к народу, он побеждает врагов не только ради демонстрации силы, ловкости, хитрости, но и для спасения родных и друзей. В отличие от большинства кавказских прикованных героев, освобождение Амирана не предвещает гибель мира, напротив, осетинский Амиран, в случае освобождения, даст людям свободу и счастье. Многие мотивы в преданиях об Амране соотносятся с мотивами Нартовского эпоса. Амиран-Амран приравнивается к любимым героям осетинской Нартиады – Сослану, Батразу, Урузмагу, Шатане. В работе его образ рассмотрен для подтверждения объективной закономерности подобной репрезентации осетинского героя. The article deals with one of the motives of the Ossetian Daredzanian epic − the motive of the chained hero, which in ancient times entered the mythology, folklore, literature of many peoples and was called the "Prometheus motive". The image of Prometheus belongs to the "eternal images" of world art culture. The history of the chaining and liberation of Prometheus, both in ancient Greek mythology and in the tragedy of Aeschylus, is positioned as toponymically tied to the Caucasus. It was here that the plot about the God-punished and chained hero became widespread in national myths and epic legends − Georgian, Ossetian, Kabardian, Abkhaz, Vainakh, Armenian, etc. These laconic legends about Amiran-Amran, according to Vs.F. Miller, are culminating in all the sources telling about this hero. Both the ancient Greek Prometheus and the Caucasian, primarily Ossetian, chained heroes presented in the works of Vs.F. Miller, G.N. Potanin, Dz. Gatuev, D.A. Kaloeva, Z.G. Tmenova, Yu.A. Dzizzoity, Kh.F. Tsgoev and others. The image of Amiran is compared with the corresponding heroes of the Caucasian epics. With all the similarity of the motives of fighting against God and the punishment of the hero by being chained to a rock or a pillar, one cannot fail to note the difference between the Ossetian Amiran and the others. In Daredzan's legends, he is a heroic person, a true hero who performs many feats, conquers giants, and helps all those in need. The son of the niece of God, the hero is close to the people, he defeats enemies not only for the sake of demonstrating strength, dexterity, cunning, but also to save family and friends. Unlike most of the Caucasian chained heroes, the release of Amiran does not portend the death of the world, on the contrary, the Ossetian Amiran, if liberated, will give people freedom and happiness. Many motives in the legends about Amran correlate with the motives of the Nartov epic. Amiran-Amran is equated with the favorite heroes of the Ossetian Nartiada - Soslan, Batraz, Uruzmag, Shatana. In the work, his image is considered to confirm the objective regularity of such a representation of the Ossetian hero.

Cosmopolitanism

2021 ◽  
Author(s):  
Moriah Maresh
Keyword(s):  
Immanuel Kant ◽  
Martha Nussbaum ◽  
Economics Education ◽  
Ancient Greek ◽  
Education Literature ◽  
The World ◽  
Francisco De Vitoria

Cosmopolitanism is the ideology that all people are “citizens of the world” (Cosmopolitanism: Ethics in a World of Strangers, under General Overviews) and can be traced back to ancient Greek and Roman philosophers, with the addition of the Egyptian pharaoh, Akhanoton (“The Greek Origins of the Idea of Cosmopolitanism,” cited under Influence and Origins). With increasing global interconnectedness thanks to technological advancements, the ideology of cosmopolitanism is perhaps now more relevant than ever before. Thanks to thinkers and writers such as Immanuel Kant, Francisco de Vitoria, Anthony Kwame Appiah, and Martha Nussbaum, to name a few, cosmopolitanism and its implications continue to influence theoretical visions of society, politics, economics, education, literature, and art.

Confronting the Ancient Greek Golden Age in Jules Dassin’s Phaedra (1962)

2018 ◽  
pp. 119-136
Author(s):  
Emma Scioli
Keyword(s):  
Visual Imagery ◽  
Golden Age ◽  
Ancient Greece ◽  
Ancient Greek ◽  
Greek Myth ◽  
The World

In the second of three chapters examining Athens’ golden-age legacy, Scioli traces how Jules Dassin repeatedly draws attention to the origins of his 1962 melodrama Phaedra in Greek myth and tragedy through visual imagery, as a complement to his 1960 comedy Never on Sunday. Phaedra’s use of ancient Athenian art, and its suggestive modernization of elements from the ancient Athenian tragedyHippolytusand Racine’s 1677 adaptation Phèdre, force a confrontation with a particular modern formulation of the ancient Greek past. Dassin draws upon the golden age to characterize the world of ancient Greece that irrupts into the early 1960s setting of the film both visually and thematically. Rather than fostering nostalgia for a golden age that might prompt a desire for its return, Phaedra presents it as an intrusive presence from which its characters feel alienated, only to demonstrate that they are inextricably bound, in their modern dress, to repeat what the tragic past has prescribed for them. Such self-conscious appropriation of Athens’ literary-dramatic and artistic-material remains informs the tragic belatedness of Phaedra and reflects upon the American expatriate director’s sense of foreignness in the homeland of his lover and artistic muse, Greek actress and activist Melina Mercouri.

Embodied Reconciliation

2019 ◽  
pp. 272-301
Author(s):  
Lydia L. Moland
Keyword(s):  
Lyric Poetry ◽  
Epic Poetry ◽  
The Other ◽  
Special Consideration ◽  
Modern World ◽  
Self Awareness ◽  
Music Drama ◽  
The World ◽  
The Individual

Hegel’s analysis of poetry’s genres begins with epic poetry, which is the action-based articulation of a nation’s dawning self-awareness. Lyric poetry, by contrast, allows poets to express their deepest subjectivity and interpret the world through their own experience. Drama brings action back into art, allowing actors themselves to emerge as artists and correcting for the vanishing subjectivity in painting and music. Drama also incorporates the two other poetic genres, as well as the other arts. Because it achieves these syntheses, it is, according to Hegel, the highest art. Hegel gives special consideration to tragedy and comedy, assessing both in their ancient and modern forms. His conclusion is that although both subgenres are more difficult to achieve in the modern world, successful examples are possible, ensuring that poetry will continue. With these poetic subgenres, the individual arts reach their conceptual end.

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