scholarly journals Poetic cosmogony in poems of Russian poets of the 18th – early 19th century

2018 ◽  
Vol 55 ◽  
pp. 04017
Author(s):  
Alexej Petrov ◽  
Angelina Dubskikh ◽  
Aleksandr Soldatchenko
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Fundamental Principle ◽  
Early 19Th Century ◽  
Religion And Theology ◽  
Literature And Philosophy ◽  
The Bible ◽  
The World ◽  
Science Philosophy

The research is significant due to the undiminishing interest shown by philosophers, philologists and culture experts to an eternal question of all times – the creation of the world by God. This aspect demands special consideration. That is why, the article aims to define the cosmogony as a part of the historiosophy, more precisely, the poetic cosmogony as a part of the artistic historiosophy. To achieve this aim, it is necessary to answer the following questions: 1) what is the fundamental principle of the world (universe), and is the poet focused on this particular problem? 2) what does this fundamental principle consist of? what are the constituents of the world? 3) how does it show itself? where is it situated? where does it exist? how did the world come into existence? The answers to these questions can be provided not only by religion and theology but also by science, philosophy and mythology. The analysis is carried out on the material of cosmogonical poems of four Russian 18th–19th century poets: “World’s Creation. Panegyric Song” (1779–1782) by А. N. Radishchev, “Reflection on World’s Creation Based on the First Chapter of Genesis” (1784, 1804) and “The Fate of the Ancient World or the Flood” (1789, 1804) by S. S. Bobrov, “Matter” (1796) by P. А. Slovtsov, “Song to the Creator” (“Pesn’ Sotvorivshemu vsja”) (1817) by S. А. Shirinsky-Shikhmatov. The conducted research found out, that all authors of the above writings put into verse versions of the so-called cosmogonic myths reputable for them, which describe how the universe originated, more or less. Four poets rely in their cosmogenesis reflections on some myth invariants to be found in the Old Testament [6], but these are the variants, and sometimes even concepts, alternating to the Bible determine an individual diversity of historiosophical constructs of our “metaphysical” poets. The material from this article can be used in teaching the following disciplines: history, 18th-century Russian literature and philosophy.

scholarly journals Efforts to maintain Latvian identity in Augšbebri village, Omsk region

2015 ◽  
Vol 2 ◽  
pp. 281
Author(s):  
Ināra Antiņa
Keyword(s):  
Young People ◽  
19Th Century ◽  
18Th Century ◽  
Language Skills ◽  
New Wave ◽  
Early 19Th Century ◽  
Russian Territory ◽  
Foreign Countries ◽  
Sixth Generation ◽  
The World

Driven by various motives, Latvian emigrants and exiles have been voluntarily or involuntarily choosing various regions of the world as their new home. Siberia is one such region – the first Latvian exiles were deported to this remote Russian territory already in the 18th century and a new wave of settlers moved there on their own accord in search of a better life in the early 19th century. Some of the Latvian villages have survived in Russia to this day. Augšbebri (Bobrovka) village in the Tara district, Omsk region, is one of them. Augšbebri village was founded in 1897 when the first settlers from Latvia registered as residents there. The modern-day residents of Augšbebri are the sixth generation of ethnic Latvians living in Siberia. The villagers have preserved their Latvian language skills and traditions, but are concerned about the younger generation’s ability to maintain their Latvian identity, because only few young people use Latvian in their day-to-day communication. The villagers’ efforts to maintain their language skills, traditions and Latvian identity in their adopted homeland are especially admirable at a time when so many Latvians leave their native country and establish Latvian communities in foreign countries in attempts to preserve their identity.

Canons to the Left of Him: Brevard Childs, his Critics, and the Future of Old Testament Theology

1997 ◽  
Vol 50 (1) ◽  
pp. 1-38 ◽  
Author(s):  
Iain Provan
Keyword(s):  
Old Testament ◽  
18Th Century ◽  
Biblical Theology ◽  
Point Of View ◽  
The Bible ◽  
The Difference ◽  
Probable Origin ◽  
The Individual ◽  
The Relationship ◽  
The Church

It is well known that the seeds from which the modern discipline of OT theology grew are already found in 17th and 18th century discussion of the relationship between Bible and Church, which tended to drive a wedge between the two, regarding canon in historical rather than theological terms; stressing the difference between what is transient and particular in the Bible and what is universal and of abiding significance; and placing the task of deciding which is which upon the shoulders of the individual reader rather than upon the church. Free investigation of the Bible, unfettered by church tradition and theology, was to be the way ahead. OT theology finds its roots more particularly in the 18th century discussion of the nature of and the relationship between Biblical Theology and Dogmatic Theology, and in particular in Gabler's classic theoreticalstatementof their nature and relationship. The first book which may strictly be called an OT theology appeared in 1796: an historical discussion of the ideas to be found in the OT, with an emphasis on their probable origin and the stages through which Hebrew religious thought had passed, compared and contrasted with the beliefs of other ancient peoples, and evaluated from the point of view of rationalistic religion. Here we find the unreserved acceptance of Gabler's principle that OT theology must in the first instance be a descriptive and historical discipline, freed from dogmatic constraints and resistant to the premature merging of OT and NT — a principle which in the succeeding century was accepted by writers across the whole theological spectrum, including those of orthodox and conservative inclination.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

scholarly journals Wesley in Oxford and the Legend of Holy Grail’s Knight: The Study about the Root of Methodism to the World, and the Foundation of Kwansei-Gakuin in Japan

2017 ◽  
Vol 6 (1) ◽  
pp. 9-16
Author(s):  
Kawanishi Takao
Keyword(s):  
Roman Empire ◽  
19Th Century ◽  
18Th Century ◽  
Round Table ◽  
King Arthur ◽  
Spiritual Power ◽  
The World ◽  
Methodist Episcopal Church ◽  
New States ◽  
The 19Th Century

Abstract John Wesley (1703-91）is known as the founder of Methodism in his time of Oxford University’s Scholar. However, about his Methodical religious theory, he got more spiritual and important influence from other continents not only Oxford in Great Britain but also Europe and America. Through Wesley’s experience and awakening in those continents, Methodism became the new religion with Revival by the spiritual power of “Holy Grail”. By this research using Multidisciplinary approach about the study of Legend of Holy Grail’s Knight, - from King Arthur and Knights of the Round Table in the Medieval Period, and in 18th century Wesley, who went to America in the way on ship where he met the Moravian Church group also called Herrnhut having root of Pietisms, got important impression in his life. After this awakening, he went to meet Herrnhut supervisor Zinzendorf (1700-60) in Germany who had root of a noble house in the Holy Roman Empire, - and to Legend of Holy Grail’s Knight Opera “Parsifal” by Richard Wagner at Bayreuth near Herrnhut’s land in the 19th century, Wesley’s Methodism is able to reach new states with the legend, such as the historical meaning of Christianity not only Protestantism but also Catholicism. I wish to point out Wesley’s Methodism has very close to Legend of Holy Grail’s Knight. In addition, after the circulation in America, in the late 19th century Methodism spread toward Africa, and Asian Continents. Especially in Japan, by Methodist Episcopal Church South, Methodism landed in the Kansai-area such international port city Kobe. Methodist missionary Walter Russel Lambuth (1854-1921) who entered into Japan founded English schools to do his missionary works. Afterward, one of them became Kwansei-Gakuin University in Kobe. Moreover, Lambuth such as Parsifal with Wesley’s theories went around the world to spread Methodism with the Spirit’s the Legend of Holy Grail’s Knight as World Citizen.

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

MRS. LYDIA MARIA CHILD IN 1844 TELLS MOTHERS HOW TO DEVELOP THEIR CHILD'S CHARACTER

PEDIATRICS ◽  
1971 ◽  
Vol 48 (1) ◽  
pp. 58-58
Author(s):  
T. E. C.
Keyword(s):  
19Th Century ◽  
The Other ◽  
Lydia Maria Child ◽  
Early 19Th Century ◽  
Other Hand ◽  
The World ◽  
Common Opinion ◽  
Life Itself ◽  
Early Influences

Mrs. Lydia Maria Child (1802-1880), a prolific writer and humanitarian reformer, wrote the most widely read early 19th century book to guide mothers in the correct management of their children. Here is her advice on how to develop good affections or character in a child: It is a common opinion that a spirit of revenge is natural to children. No doubt bad temper, as well as other evils, moral and physical, are often hereditary–and here is a fresh reason for being good ourselves, if we would have our children good. But allowing that evil propensities are hereditary, and therefore born with children, how are they excited, and called into action? First, by the influences of the nursery–those early influences, which, beginning as they do with life itself, are easily mistaken for the operations of nature; and in the second place, by the temptations of the world. Now, if a child has ever so bad propensities, if the influences of the nursery be pure and holy, his evils will never be excited, or roused into action, until his understanding is enlightened, and his principles formed, so that he has power to resist them. The temptations of the world will do him no harm; he will "overcome evil with good." But if, on the other hand, the influences of the nursery are bad, the weak passions of the child are strengthened before his understanding is made strong; he gets into habits of evil before he is capable of perceiving that they are evil. Consequently, when he comes out into the world, he brings no armor against its temptations.

Historicism

2020 ◽  
Author(s):  
Mari Hvattum
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Cultural Development ◽  
Early 19Th Century ◽  
Cultural Conditions ◽  
Related Idea ◽  
History Of ◽  
Cultural Historian ◽  
The 19Th Century ◽  
Art And Architecture

In its most general sense, historicism refers to a new historical consciousness emerging in late-18th- and early-19th-century Europe. This novel “historical-mindedness,” as the cultural historian Stephen Bann has called it, sprung from a recognition that human knowledge and human making are historically conditioned and must be understood within particular historical contexts. Historicism inspired new interest in the origin and development of cultural phenomena, not least art and architecture. When used in relation to architecture, historicism usually refers to the 19th-century notion that architecture is a historically dynamic and relative phenomenon, changing with time and circumstance. This in contrast to 18th-century classicism which tended to uphold the classical tradition as a universal ideal and a timeless standard. Historicism in architecture often entails Revivals of various kinds, i.e., the reference to or use of historical styles and motifs. The term is related to concepts such as eclecticism, revivalism, and relativism. In architectural history, an early anticipation of a historicist way of thinking is Johann Joachim Winckelmann’s History of the Art of Antiquity (1764). While still idealizing Greek art, Winckelmann also analyzed Egyptian, Etruscan, Phoenician, and Persian art and architecture, paying close attention to the historical conditions in which each of these cultures emerged. This new attentiveness to the relationship between cultural conditions and artistic expression lies at the heart of historicism, as does the related idea that architecture has the capacity to represent an epoch or a nation, forming a veritable index of cultural development. There is a strong organicist aspect to historicism, i.e., a tendency to think about cultural phenomena as organic wholes that evolve according to laws.

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