scholarly journals VII.—On the Geological History of the Cornish Serpentinous Rocks

1886 ◽  
Vol 3 (8) ◽  
pp. 359-367
Author(s):  
J. H. Collins
Keyword(s):  
East Coast ◽  
Point Of View ◽  
Open Cavity ◽  
The Other ◽  
Geological History ◽  
History Of ◽  
The One ◽  
Great Mass

My argument that at Porthalla there is a “passage” from hornblende-schist to serpentine; or rather that some beds of a common series have been changed into serpentine, others into hornblende-schist, and others again into a substance of intermediate character, is, I think, much strengthened by the fact that many such “apparent passages” are admitted to exist by all those who have examined the Lizard Coast with any degree of detail. De la Beche's description of that seen near the Lizard Town is as follows, and it would apply equally well to the others. “The hornblende slate,” he says, “supports the great mass of the Lizard serpentine with an apparent passage of the one into the other in many places—an apparent passage somewhat embarrassing,” that is, from his point of view; from mine it is perfectly natural. He goes on to say: “Whatever the cause of this apparent passage may have been, it is very readily seen at Mullion Cove, at Pradanack Point, at the coast west of Lizard Town, and at several places on the east coast between Landewednack and Kennick Cove, more especially under the Balk … and at the remarkable cavern and open cavity named the Frying-Pan, near Cadgwith.” At Kynance some of the laminse of serpentine are not more than one-tenth of an inch in thickness for considerable distances.

Art. XIX.—An old Hebrew Romance of Alexander

1897 ◽  
Vol 29 (3) ◽  
pp. 485-549
Author(s):  
M. Gaster
Keyword(s):  
Middle Ages ◽  
Early Period ◽  
Point Of View ◽  
The Other ◽  
The West ◽  
The Real ◽  
History Of ◽  
Bibliographical Information ◽  
Ancient Times ◽  
Great Mass

More marvellous and more remarkable than the real conquests of Alexander are the stories circulated about him, and the legends which have clustered round his name and his exploits. The history of Alexander has, from a very early period, been embellished with legends and tales. They spread from nation to nation during the whole of the ancient times, and all through the Middle Ages. Many scholars have followed up the course of this dissemination of the fabulous history of Alexander. It would, therefore, be idle repetition of work admirably done by men like Zacher, Wesselofsky, Budge, and others, should I attempt it here. All interested in the legend of Alexander are familiar with those works, where also the fullest bibliographical information is to be found. I am concerned here with what may have appeared to some of these students as the bye-paths of the legend, and which, to my mind, has not received that attention which is due to it, from more than one point of view. Hitherto the histories of Alexander were divided into two categories; the first were those writings which pretended to give a true historical description of his life and adventures, to the exclusion of fabulous matter; the other included all those fabulous histories in which the true elements were smothered under a great mass of legendary matter, the chief representative of this class being the work ascribed to a certain Callisthenes. The study of the legend centred in the study of the vicissitudes to which this work of (Pseudo-) Callisthenes had been exposed, in the course of its dissemination from the East, probably from its native country, Egypt, to the countries of the West.

scholarly journals The Perspective of Overcoming Nihilism in Heidegger’s Dialogue with Jünger

2019 ◽  
Vol 30 (1) ◽  
Author(s):  
Tautvydas Vėželis
Keyword(s):  
Point Of View ◽  
The Other ◽  
Dialectical Thinking ◽  
Other Hand ◽  
History Of ◽  
Metaphysical Tradition ◽  
The One ◽  
Relationship Of ◽  
The Relationship ◽  
European Civilization

This article examines the problem of overcoming nihilism in Heidegger’s dialogue with Jünger. It is suggested that nihilism is manifested in various forms and is the deep logic of the whole history of European civilization. One of the main aims of this paper is to outline the relationship of nihilism and Nothing in Heidegger’s dispute with Jünger, viewing how Heidegger distinguishes his approach from Jünger’s point of view. Heidegger, on the one hand, treats nihilism as consummation of the Western metaphysical tradition, on the other hand, identifies Nothing itself as the shadow of Being, which cannot be overcome in the traditional dialectical thinking manner.

Chaplain and Steward: Francis Blakiston SJ (1617–93) at Linton-on-Ouse

2001 ◽  
Vol 25 (3) ◽  
pp. 423-433
Author(s):  
John Trappes-Lomax
Keyword(s):  
Point Of View ◽  
The Other ◽  
Catholic Priests ◽  
Other Hand ◽  
Spare Time ◽  
History Of ◽  
The One

Chaplains in penal times were on occasion employed as stewards, though perhaps not as frequently as is sometimes supposed; from the point of view of their employers this is not entirely surprising; on the one hand chaplains might reasonably be expected to be literate, numerate and honest; on the other hand the restrictions under which Catholic priests worked might well leave them a sufficiency of spare time for secular affairs. The interest of the letter which follows lies not in the mere fact of such a stewardship, but in the extraordinarily vivid picture it gives of what it was like for a professed Religious to be involved in running an estate—particularly when his employer was of questionable sanity. Some light is incidentally thrown on the history of Catholicism in Linton-on-Ouse.

scholarly journals The Need for an Alternative Narrative to the History of Ideas or To Pay a Debt to Women: A Feminist Approach to Ricœur's Thought

2013 ◽  
Vol 4 (1) ◽  
pp. 7-20
Author(s):  
Fernanda Henriques
Keyword(s):  
Paul Ricoeur ◽  
History Of Philosophy ◽  
Point Of View ◽  
History Of Ideas ◽  
The Other ◽  
Men I ◽  
Other Hand ◽  
History Of ◽  
Human Capacity ◽  
The One

This paper explores the thought of Paul Ricœur from a feminist point of view. My goal is to show that it is necessary to narrate differently the history of our culture – in particular, the history of philosophy – in order for wommen to attain a self-representation that is equal to that of men. I seek to show that Ricoeur’s philosophy – especially his approach to the topics of memory and history, on the one hand, and the human capacity for initiative, on the other hand– can support the idea that it is possible and legitimate to tell our history otherwise by envisioning a more accurate truth about ourselves. 

Jeffersonian Democracy: a Dual Tradition

1934 ◽  
Vol 28 (5) ◽  
pp. 838-851
Author(s):  
Charles M. Wiltse
Keyword(s):  
Political Philosophy ◽  
Historical Perspective ◽  
Point Of View ◽  
The Other ◽  
Abstract System ◽  
The World ◽  
Action Time ◽  
History Of ◽  
Great Mass

From the great mass of Jefferson's writings, letters, and public utterances, it is possible to select isolated fragments in justification of almost any course one chooses to pursue; and the history of his forty years in the service of his country offers almost as various a pattern. Taking his career and his writings as a whole, however, and piecing together from both the broad outlines of a political philosophy, one is struck by what appears to be a dual emphasis: two diverging streams of thought, which seem at first glance to be incompatible, and which have rendered the great democrat vulnerable to the charge of inconsistency so often repeated in his own day as in ours. One of these emphases, and that most apt to be quoted by campaign orators, is on individualism; but the direction and purpose of the other is socialistic.Both in the abstract system of the philosopher and in the concrete events of the world of action, time has a way of reconciling apparent contradictions. Historical perspective will do much to reveal unsuspected unities, and the point of view from which the inquiry is approached will do the rest.

scholarly journals A consideration of the impeccability of Christ

2016 ◽  
Vol 50 (1) ◽  
Author(s):  
Lazarus E. Kanniah ◽  
Carel F.C. Coetzee
Keyword(s):  
Point Of View ◽  
The Other ◽  
Main Body ◽  
History Of ◽  
Historical Theology ◽  
The One ◽  
The Relationship ◽  
Church Councils

The following study seeks to investigate the impeccability of Christ from a historical-theological point of view. Two camps emerge on either side of the debate. The one camp is those who hold to the posse non peccare view, which is to say the ability not to sin, otherwise known as the peccability view. The other camp holds to the non posse peccare view which is to say inability to sin, otherwise known as the impeccability view. While both camps affirm the sinless perfection of Christ they oppose each other about whether he could have sinned if he had wanted to. It boils down to a case of ‘could have but did not’ or ‘did not because He could not have’. It is the view of this article that the non posse peccare view squares with historical theology. By surveying church councils up to the present time, we aim in the introduction to prove that the history of this issue matters in that it establishes the relationship between Christology and history in relation to the origin of sin. In the first section of the main body we survey and evaluate the position from a peccability viewpoint while, at the same time, proposing and validating our points of departure. In the second section we assess and acknowledge the argument for impeccability by proving the necessity of it for the exoneration of Christ’s Person.

scholarly journals De nalatenschap van een literaire duizendpoot. Over de heimatschrijver Omer Wattez (1857-1935)

2013 ◽  
Vol 72 (4) ◽  
pp. 328-350
Author(s):  
Stefan Van den Bossche
Keyword(s):  
Literary Culture ◽  
Point Of View ◽  
The Other ◽  
Modern Literature ◽  
Fault Line ◽  
German Culture ◽  
Cultural Life ◽  
History Of ◽  
German Origin ◽  
The One

De naam van heimatauteur Omer Wattez refereert meestal aan het door hem gecreëerde geografische begrip 'Vlaamsche Ardennen'. Literair-historisch gezien viel hij echter door de mazen van het net. Vandaag zou de literatuurwetenschap hem als een middlebrow-schrijver typeren: een exponent van het middenveld waarin de literatuur sterke democratiserende doelen dient. De breuklijn in Wattez' leven en werk is die tussen de Germaanse en Romaanse cultuur. De auteur verdiepte zich in de Duitse en Oud-Germaanse cultuur en zou talloze publicaties over het thema leveren, veeleer van pedagogische aard en met de bedoeling de contemporaine verfransing van het Vlaamse cultuurleven te counteren. De schrijver besteedde op nogal eenzijdige wijze aandacht aan de Germaanse kant van de Vlaamse cultuur, iets waar zijn lidmaatschap van het Brusselse kunstgenootschap De Distel niet vreemd was. Meteen na de oprichting in 1881 was daar al een germanofiele instroom merkbaar. Het genootschap viel op door verscheidene Duitsgezinde acties die geleidelijk overgingen in een politiek pangermanisme, de droom om Germaanse volkeren onder één vlag te verzamelen. Omstreeks 1900 trad Wattez opt als een van de leidinggevende figuren van het tijdschrift Germania (1898-1905), een initiatief van Alduitse oorsprong. Eerder had hij zich bij voorkeur als dichter en novellist gemanifesteerd. Hoe dan ook zal vooral zijn boekwerk De Vlaamsche Ardennen blijven de tand des tijds doorstaan. Het koppelen van uiteenlopende toeristische facetten en oden aan het onbezoedelde landschap van zijn jeugd enerzijds en literaire cultuur anderzijds lijkt typisch te zijn aan een flink deel van Wattez' oeuvre.________The legacy of a literary centipede. About the regional author Omer Wattez (1857-1935)The name of regional author Omer Wattez is usually mentioned in reference to the geographical concept of the ‘Flemish Ardennes’ that he created. However, it is difficult to pinpoint him from a literary historical point of view. At present the history of modern literature would characterise him as a middlebrow-author: an exponent of the mainstream in which literature serves strong democratising objectives. The fault line in Wattez' life and work lies between German and Romanic culture. The author delved into the German and Old-German culture and was to produce numerous publications on that topic, which were of a rather pedagogical nature and intended to strike back at the contemporary Frenchification of Flemish cultural life. The author paid attention to the German side of Flemish literature from a rather one-sided point of view, which might well be explained by his membership of the Brussels art society De Distel. Immediately after its foundation in 1881, a Germanophile influx was already noticeable. The society attracted attention by engaging in several pro-German actions, which gradually turned into a political Pan-Germanism, the dream to unit all German nations under one flag. Circa 1900 Wattez acted as one of the protagonists of the periodical Germania (1898-1905), an initiative of All-German origin. Previous to this, he had manifested himself preferably as a poet and novelist. At any rate, it will be in particular his book The Flemish Ardennes that will stand the test of time. The linking of a variety of tourist aspects and odes to the untarnished landscape of his youth on the one hand and literary culture on the other hand appears to characterise a large part of the works of Wattez.

scholarly journals El mal sufrido como vía de acceso a la trascendencia: una revisión del problema del mal en Paul Ricoeur. Suffered Evil as a Path to Transcendence: a Review of the Problem of Evil in Paul Ricoeur

2017 ◽  
Author(s):  
Juan Pablo Martínez Martínez
Keyword(s):  
Human Life ◽  
Paul Ricoeur ◽  
Moral Evil ◽  
Problem Of Evil ◽  
Point Of View ◽  
The Other ◽  
Paul Ricœur ◽  
The Problem Of Evil ◽  
History Of ◽  
The One

A lo largo de la historia de la filosofía, el problema del mal ha sido enfocado o desde un punto de vista moralizante o desde un punto de vista metafísico, que difícilmente puede dar respuesta a la pregunta por el origen del mal radical en el hombre. Partiendo de la distinción entre mal sufrido y mal cometido o mal moral —que establece Paul Ricoeur—, se tratará de mostrar que el mal sufrido realmente no es un mal. Por su parte, la experiencia genuina del mal sufrido que se concreta en la pregunta al aire del justo sufriente nos permitirá, por un lado, deslindar las concepciones de sufrimiento y mal mediante el uso del concepto dolor, y por otro lado, una revisión antropológica del problema del mal, que cuadra perfectamente con la línea de propuesta de Paul Ricoeur, cuya teoría acerca de la experiencia del mal será comentada y ampliada desde un antropología trascendental, no desde una metafísica, ni desde la perspectiva simbólica de Ricoeur.Throughout the history of philosophy the problem of evil has been examined either from a moral or a metaphysical point of view, neither of which can answer the question of the radical origin of evil in human life. By distinguishing between suffered evil and committed or moral evil —a distinction that Paul Ricoeur established— we will try to show that suffered evil is not really an evil. On the one hand, the genuine experience of suffered evil, which takes form in the questions of the just man who suffers, will allow us to make a distinction between suffering and evil through the concept of pain. On the other hand, it will also help us to conduct an anthropologic review of the problem of evil. This approach fits perfectly with Paul Ricoeur’s line of thought, since his theory about the experience of evil will be studied and delved into through a transcendental anthropology, not from a metaphysical approach, and not from Ricoeur’s symbolic perspective.

La tv come casa dell’arte. Sperimentazioni e utopie

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Silvia Bordini
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Double Point ◽  
Point Of View ◽  
The Other ◽  
Audiovisual Communication ◽  
History Of Art ◽  
History Of ◽  
The One ◽  
Short Essay

The involvement of art in tv devices is examined from a double point of view: on the one hand, the use of tv as a divulgation tool that compares the history of art, entertainment and spectacularization; and on the other, the interpretation of tv as a tool for artistic experimentation. The hypothesis of a cultural use of the potential of audiovisual communication is elaborated in particular by numerous art historians, with different initiatives that reflect the variants of the very notion of art history and art criticism. The hypothesis of TV as a possible tool for making art according to unprecedented linguistic modulations starts from Lucio Fontana in the context of spatialist theories and then develops autonomously in the specific of new technological languages: the programs, the devices and the physicality of the television itself were in fact the first "material" that the artists used to elaborate what went down in history as "videoart". In the paths outlined in this short essay, television has taken on the significance of a strongly symbolic medium, in the alternation of different and often contrasting messages and models, linked to a variety of cultural and ideological positions.

scholarly journals Caesura of History: Performing Greek Tragedy after Brecht

2017 ◽  
Vol 2 (2) ◽  
pp. 241
Author(s):  
Matthias Dreyer
Keyword(s):  
Greek Tragedy ◽  
Point Of View ◽  
The Other ◽  
The Past ◽  
History Of ◽  
The One ◽  
A Site ◽  
Established Order ◽  
The Way

Taking into account the intertwining of the theory of tragedy on the one hand and theatrical work on ancient tragic texts on the other, the paper explores the way in which tragedy poses the question of history. This is especially the case in conceptions of tragedy as an interruption in a continuum. Hölderlin’s idea of caesura, its reflection in Benjamin’s understanding of tragedy as a revision of myth are in the center of a critical dramaturgy of this kind. By analysing Brecht’s work on Antigone as well as the stagings of critical theatre makers that came after Brecht (Einar Schleef, Dimiter Gotscheff), the paper shows the consequences of the concept ‘tragedy as caesura‘ on the level of the aesthetics of the theatre, unclosing in a radical way the temporality of the tragic process. From this point of view, tragedy is understood as a site of encounter with the persisting powers of the past; as reflexive rupture in the transition between times, that undermines the established order, but without, however, arriving at a new one. Although in the history of theatre and thought tragedy has been too often associated with the universal and timeless, how is it possible to think of historicity in a way negating submission under the universal without losing the genre of tragedy itself?

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