The Cross in Spirituality

2020 ◽  
pp. 121-179
Author(s):  
Richard Viladesau
Keyword(s):  
Twentieth Century ◽  
Social Reform ◽  
Conceptual Level ◽  
The World ◽  
The Cross ◽  
The Aesthetic ◽  
Conceptual Formulation

Spirituality may be based on an explicit conceptual theology; or it may be relatively unreflective on the conceptual level. It operates primarily not on the conceptual but on the aesthetic or imaginative level. It symbolically mediates and expresses a relation to God and to the world, and implies a certain intellectual (but not necessarily conceptual) formulation and certain modes of acting, both religious and secular. The traditional spirituality of the cross, involving appropriating Christ’s sacrifice and joining with his suffering, was strongly represented in a number of twentieth-century figures, including several stigmatics, people who showed the signs of Christ’s crucifixion on their bodies. At the same time, liberation theologies stress, solidarity with those who suffer “the cross” in our own times, and include a spirituality of social reform.

Tācippeṇ, The Dancing Girl: Entangled questions of social and aesthetic reform in a Tamil drama by Pammal Campanta Mutaliyār (1873–1964)

2021 ◽  
Vol 5 (1) ◽  
pp. 115-136 ◽  
Author(s):  
Davesh Soneji
Keyword(s):  
Twentieth Century ◽  
Social Change ◽  
Social Reform ◽  
New Vision ◽  
The Aesthetic ◽  
Mixed Gender ◽  
Legal Interventions ◽  
Do So

Pammal Campanta Mutaliyār (1873–1964) is generally regarded as the ‘father of the modern Tamil theatre’. In this article I examine how Pammal’s non-mythological and non-Shakespearean dramas – that is, what he termed his ‘social dramas’ – were woven into different domains and constituencies that saw themselves as agents for social change. I argue that his engagement with projects of civic and social reform ran parallel to his ideas about the aesthetic reform of the Tamil drama itself. Beginning in the first decade of the twentieth century, Pammal’s dramas self-consciously attempt to rid themselves of what Pammal understands as the aesthetic excesses of the Parsi-inflected Tamil theatre, including its densely musical nature and its increasingly mixed-gender cast. Tācippeṇ, The Dancing Girl (1928), a drama that deals with devadāsī reform, perhaps best exemplifies the simultaneity and intertwined nature of Pammal’s programmes. It was composed on the eve of reformer Dr Muthulakshmi Reddy’s earliest legal interventions towards the abolishment of devadāsī lifestyles and is a deeply self-reflexive work. Not only does it stage well-established tropes about devadāsī reform, but it deploys the idiom of Pammal’s new vision of the modern Tamil theatre – bereft of its musical temperament and performed exclusively by men – to do so.

Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century

2021 ◽  
pp. 119-124
Author(s):  
Jyldyz K. Bakashova ◽  
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Actual Problem ◽  
Artistic Creation ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic ◽  
Creative Understanding ◽  
Artistic Image

The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.

Bulgakov, Sergei Nikolaevich (1871–1944)

2018 ◽  
Author(s):  
Bernice Glatzer Rosenthal
Keyword(s):  
Twentieth Century ◽  
Social Reform ◽  
Class Struggle ◽  
Human Beings ◽  
Cultural Issues ◽  
Moral Imperative ◽  
Divine Wisdom ◽  
The World ◽  
Church In The World ◽  
The Church

A luminary of the Russian Religious-Philosophical Renaissance, Bulgakov moved from Marxism, to idealism, to Christianity in the early twentieth century. He rejected historical determinism, class struggle and all theories of progress that accept the suffering of one generation as a bridge to the happiness of another. He regarded the abolition of poverty as a moral imperative, insisted that Christianity mandates political and social reform, and wanted to create a new culture in which Orthodox Christianity would permeate every area of Russian life. His most important philosophical works, Filosofiia khoziaistva, chast’ pervaia (The Philosophy of the Economy, Part I) (1912) and Svet nevechernyi (Unfading Light) (1917), reflect his turn to a Solov’ëvian mysticism which apotheosized transfiguration, Sophia and Godmanhood (Bogochelovechestvo). Bulgakov saw the cosmos as an organic whole, animated and structured by a World Soul, an entelechy that he called Sophia, Divine Wisdom. Sophia mediates between God and his creation, working mysteriously through human beings. In emigration, Bulgakov developed new interpretations of Orthodox dogmatics and participated in the ecumenical movement. His lifelong concerns were the Church in the world and the interconnection of religion and life. His writings on contemporary political, social and cultural issues helped inspire the Russian Religious-Philosophical Renaissance.

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. Its development has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art, and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both helped to set the central philosophical issue of the field, which is due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large and the nature of art. These differences are so marked that environmental aesthetics must begin with basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, two of which are the engagement and the cognitive approaches. The first holds that appreciators must transcend traditional dichotomies, such as subject/object, and diminish the distance between themselves and objects of appreciation, aiming at multi-sensory immersion of the former within the latter. By contrast, the second contends that appreciation must be guided by the nature of objects of appreciation and that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each approach has certain strengths and weaknesses. However, although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, shows just how rewarding such appreciation can be.

1. The world of eugenics

2017 ◽  
pp. 1-24
Author(s):  
Philippa Levine
Keyword(s):  
Twentieth Century ◽  
Social Policy ◽  
Significant Role ◽  
Government Policy ◽  
Social Reform ◽  
The World ◽  
Science And Culture

Early in the twentieth century, a powerful union of science and social policy emerged in countries across the world. Eugenics was a movement committed to using the principles of heredity and of statistics to encourage healthy and discourage unhealthy reproduction. Throughout the twentieth century, but especially in the earlier decades, eugenics played a significant role in shaping government policy. ‘The world of eugenics’ outlines the links between eugenics and social reform and the differences between positive and negative eugenics. It discusses how Nazism and eugenics became so closely connected; the rise of eugenics in science and culture worldwide; the approach to eugenics by different religions; and finally the forms of resistance to eugenics.

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. The development of environmental aesthetics has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors have broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both have helped to set the central philosophical issues of the field, which are due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large, and the nature of art. These differences are so marked that environmental aesthetics must begin with most basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, which are typically classified as either noncognitive or cognitive approaches. Positions of the first type stress various kinds of emotional and feeling-related states and responses, which are taken to be the more noncognitive dimensions of aesthetic experience. By contrast, positions of the second type contend that appreciation must be guided by the nature of objects of appreciation and thus that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each of these two kinds of approach has certain strengths and weaknesses. However, recent work in environmental aesthetics, especially in the aesthetics of human environments and everyday life, demonstrates that although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, demonstrates just how rewarding such appreciation can be.

Aesthetic paradoxes of Russian drama

2018 ◽  
Author(s):  
Татьяна Злотникова ◽  
Tat'yana Zlotnikova
Keyword(s):  
Twentieth Century ◽  
Verbal Aggression ◽  
Modern Drama ◽  
Drama Theory ◽  
The World ◽  
Personal Level ◽  
To Come ◽  
The Aesthetic ◽  
Empirical Material

Kulturphilosophie deterministic constant in the fate of Russian drama is presented through the presence and the severity of the aesthetic paradoxes. The author sees an attempt of the Russian drama of the XX century "to come off" from own roots. The book analyzes the experience of modern drama theory (Pushkin), genre paradoxes (Gogol), the formation of a specific picture of the world that anticipated the birth of the European drama of absurdity (Chekhov), as well as the experience of the Russian drama of the twentieth century. at the personal level (Gorky, Rozov) and at the level of trends (the search for a "positive hero" at the turn of 1970-1980, the Russian drama of absurdity, verbal aggression in the word). Innovative is about the Seminary "theory of drama as a cultural-philosophical horizon", which allows to actualize the analysis of the presented theoretical and empirical material through a specific categorical apparatus.

Faces of Protest: Yiddish Cartoons of the 1905 Revolution

Slavic Review ◽  
2002 ◽  
Vol 61 (4) ◽  
pp. 732-761 ◽  
Author(s):  
Sarah Abrevaya Stein
Keyword(s):  
Twentieth Century ◽  
Popular Opinion ◽  
Early Twentieth Century ◽  
The World ◽  
Yiddish Press ◽  
The Aesthetic ◽  
Socialist Politics ◽  
The Revolution

This article turns to an unexplored genre of Russian letters—the Yiddish cartoon—in order to consider how the most popular Russian Jewish newspaper of the early twentieth century participated in the Revolution of 1905-07. By exploring cartoons published in Derfraynd (St. Petersburg, 1903-1913, renamed Dos lebn February-July 1906) Sarah Abrevaya Stein reflects on how the Yiddish press reflected and shaped evolutions in Russian Jewish popular opinion: in particular, the temporary shift away from nationalist and toward opposition and socialist politics. This article also considers why the revolution ended in the world of Yiddish letters some months earlier than it did in the Russian, in the wake of the Bialystok pogroms of June 1906. This event, Stein demonstrates, catalyzed a redirection in the aesthetic and political tenor of popular Yiddish sources, prompting the cartoon to be replaced with the photograph and the politics of opposition with nationalism.

scholarly journals Piękne okrucieństwo. Przemoc w imaginarium faszystowskim

2015 ◽  
Vol 17 ◽  
pp. 15-45
Author(s):  
Nina Gładziuk
Keyword(s):  
Twentieth Century ◽  
Intellectual History ◽  
Avant Garde ◽  
Sturm Und Drang ◽  
The World ◽  
The Aesthetic

This paper discusses the roots of fascist (and Nazi in particular) ideas, which were anchored in the aesthetic heritage of Romanticism, later developed by the Nietzschean vitalism and the modernist avant-garde. From the perspective of twentieth-century intellectual history, special attention should be given to the theme of violence committed in the name of beauty, as well as the relations between the initial romantic idea of art as Sturm und Drang, the concept of the artistic avantgarde attacking the world of bourgeois values and fascist shock troops.

Development of the Jewish religious movement "Khabad" in Ukraine in the 20's of the twentieth century

2001 ◽  
pp. 85-90
Author(s):  
O. V. Kozerod
Keyword(s):  
Twentieth Century ◽  
Religious Movement ◽  
Important Research ◽  
The World ◽  
Research Problems

The development of the Jewish religious movement "Khabad" and its organizations in the first quarter of the twentieth century - one of the important research problems, which is still practically not considered in the domestic Judaica. At the same time, this problem is relevant in connection with the fact that the religious movement "Khabad" during the twentieth century became the most widespread and influential area of Judaism in Ukraine and throughout the world.

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