Natural Entropy and Piers Plowman

2020 ◽  
pp. 265-297
Author(s):  
Nicolette Zeeman

This chapter considers medieval theories that sin produces bodily sickness and suffering, and that this might, paradoxically, undermine sin itself. These theories result from the psychosomaticism of medical-stoic thought; they assume that sickness is the body’s natural reaction to being ‘abused’ by vice. These theories were developed in later medical theory, according to which the vices have their destructive impact on the body via the ‘non-naturals’ (contingent phenomena that affect health), especially the passions. Influenced by these ideas, medieval pastoral thought frequently describes sinners as suffering physiologically and the visual arts contain many striking illustrations. If the overt purpose of such texts and images is to warn people off sin, their effect is also to show sin somehow naturally consuming or destroying itself; it will be clear that such theories are at odds with intentionalist ethics. Langland explores these ideas and paradoxes in Piers Plowman, where the personified sins, and Haukyn, are undoubtedly sad vices; related ideas also underlie the poem’s apocalyptic ending, which is characterized by the coincidence of endemic sin and physical suffering. But at this point it is not clear that the suffering has any beneficial impact. However, the chapter also observes that the poem’s ending reflects a kind of entropy that may derive from experiencing, but also writing and reading about, the reiterations of sin: it suggests that the natural entropy of sin may after all still play some part here.

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.


Antiquity ◽  
1993 ◽  
Vol 67 (254) ◽  
pp. 117-119 ◽  
Author(s):  
Gerald J. Smith

It has been suggested that the bright green fluorescence shown by the hair of Lindow Man II is due to the use of copper-based pigments for body decoration. However, scientific analysis shows that this fluorescence is due to a natural reaction of the hair keratin with acid in the peat in which the body was buried.


2021 ◽  
pp. 115-141
Author(s):  
James A. Winn

There is a palpable difference between Addison’s stimulating and thoughtful remarks on literature or the visual arts and his scattered, unconvincing, and dismissive comments on music. His unease about music, the chapter argues, stemmed from ignorance, disappointment, and a tendency to link musical pleasure with secret or illicit sexual pleasure. By basing his aesthetic theory on sight, Addison was able to make contact with scientific discourse, indirectly express his political ideology, and avoid extensive discussions of music, the art about which he knew least. His attempt at an English opera (Rosamond, 1707) failed, and the libretto does not suggest that Addison gave much thought to what it might be like to set or sing his words. As a young man, he wrote two St Cecilia odes, closely following the conventions established in Dryden’s ode for 1687. Printed in the Annual miscellany for 1694 is his translation of an episode from Ovid that purports to explain ‘the secret Cause’ that makes the River Salmacis weaken those who bathe in it. Something about the power of music, its emotional and sensual influence on the body and the mind, was evidently connected in his mind with secret pleasures that he did not wish to acknowledge or reveal. Same-sex love was probably among such pleasures. While there is no definitive evidence that Addison had strong homosexual feelings, or that he acted upon them, there is reason to believe that he associated such feelings with music, an association which shaped his consciousness and therefore his aesthetics.


Author(s):  
Shersten Johnson

Operatic dramas often set to music the extremes of human bodily experience—disease, death, and violence—all duly tinged with hues of eroticism. Not surprisingly then, the genre includes a number of works that stage scenes of corporal punishment. These moments of physical suffering can focus attention on the body in a way that even Mimi’s consumption or Carmen’s stabbing cannot. This chapter examines three such scenes in operas by Britten (Billy Budd), Adams (Nixon in China), and Lloyd Webber (Jesus Christ Superstar) to see how music, action, and text multimodally represent not only the cruel impact of blows, but also the emotional impact for victim, punisher, onstage onlookers, and audience. Close readings of the three scenes draw on theories of embodied rhythm and mimetic listening to engage the question of how this music “gets into our bodies” and helps us to experience the dramas.


2020 ◽  

In this volume, the idea of the body and corporeality in the philosophy of late antiquity is examined. It deals with questions of ontology, mathematics, physics, astronomy, biology, anthropology, politics, theology and aesthetics. The importance of the topic results both from its historical relevance (for the visual arts, literature, the specialist sciences, religion and general cultural history) as well as its philosophical importance. From a philosophical point of view the late antique reflection on corporeality contains an impressive array of meanings discussed in this volume. With contributions by Riccardo Chiaradonna, Giovanni Colpani, Diego de Brasi, Sabine Föllinger, Christoph Helmig, Christoph Horn, Alberto Jori, Alessandro Linguiti, Claudia Lo Casto, Christoph Markschies, Dmitri Nikulin, Federico Petrucci, Flavia Salvatori, Ambra Serangeli, Daniela Taormina, Chiara Tommasi, Denis Walter


Author(s):  
Ruiping FAN

LANGUAGE NOTE | Document text in Chinese; abstract also in English.本文試圖綜合本期各篇文章的主要觀點,依據“目的”、“體驗”和“價值”三條線索來對傳統中醫和現代西醫做一初步的評價。由於醫學的內在目的在於防治疾病、維護健康,而不是追求真理、認識世界,因而中醫與西醫都可以發揮作用,現代化研究與傳統式探索也可以並行不諱,只要有助於醫學的目的即可。此外,西方醫學從傳統走向現代的過程,乃是從重視病人的親身感受轉向注重病理解剖事實的過程,而中醫學體系提供了一種不同的臨床現象學。最後,醫學是負荷看價值和意識形態的人類活動,應當超越當前的技術烏托邦傾向,成為良好生活方式的一個和諧部分。The contemporary world is characteristic of science-fetishism and technological utopia. Every social issue is explored in the name of science, and all difficult problems are to be resolved by renovated technologies. This is even more so in modern China than in the West. The people attempt to modernize their lives in all respects. For many of them, everything old needs to be weighed on a modern scientific scale and anything unscientific must be rejected. This constitutes the context in which traditional Chinese medicine is generally evaluated. This essay argues that this context is misleading. It intends to reevaluate traditional Chinese versus modern Western medicine in consideration of the internal aim of medicine, patients, experiences, and ideologies and values.There has been a long-standing debate in China in this century regarding whether or not traditional Chinese medicine is a science. Both sides of the debate, ironically, agree that if traditional Chinese medicine is not a science, it should be abandoned. However, this debate is non-sensical. Medicine as medicine, whether it is a traditional medicine or a modern medicine, is not a science. Medicine is not a science because its internal aim differs from the aim of science. While the internal aim of science can be identified as pursuing truth and knowing the world, the internal aim of medicine consists in maintaining health as well as treating and preventing diseases. Undoubtedly, modern Western medicine is scientific. Its theories and practices are based upon typical modern sciences such as physics, chemistry and biology. But medicine as medicine does not have to be scientific. Given the internal aim of medicine, as long as a practice or method contributes to the treatment of disease or the promotion of health, it is legitimate. The existence of varieties of non-scientific alternative medicine and faith medicine in the US where modern science and technology are most advanced, is a good example of this. To put it in a famous Chinese saying, "whether it is a white cat or a black cat, as long as it catchesthe mouse, it is a good cat."No one can deny the tremendous achievements that modern scientific medicine has made in fighting diseases. However, focused on a technologized anatomico-pathologic view of the body and diseases, contemporary medicine discounts the significance of patient complaints and it is naturally easy to lose sight of the non-technological aspects of medical practice, especially the experience of the sick person. Traditional Chinese medical theory and practice provide a heuristic alternative. By viewing the essence of illness as symptom-complex rather than anatomico-pathological lesion, by identifying imbalanced climate and emotional factors rather than disease entities as the sources of illnesses, by using ordinary contacts rather than complicated lab and mechanical investigations as medical examining tools, by focusing on the experience of being sick rather than on pathological anatomy, by following balancing rather than curing as the treatment principle, and by emphasizing prevention rather than treatment, traditionalChinese medicine offers a systematic medical phenomenological system in which a patient’s life experience and intuitive knowledge of the body is the center of clinical practice.Finally, medical theory and practice are value-laden. "Our ideologies and expectations concerning the world move us to select certain states as illnesses because of our judgment as to what is dysfunctional or a deformity and to select certain causal sequences,etiological patterns, as being of interest to us because they are bound to groups of phenomena we identify as illnesses" (Engelhardt). Our ideologies and expectations also move us to select certain modes of medicine and therapeutic methods as most useful and promising because of our judgments about the appropriateness and efficacy of practical instruments. Accordingly, practicing and accepting medicine is part of a way of life. As people accept different value systems and life expectations, they must be careful about what medicine and technology they want to accept and develop. We must reflect on the contemporary ideology of technological utopia that intends to resolve all problems by newly developed complicated technologies. Not all conflicts and tensions of life can be resolved by technologies. What is worse, the overwhelmingly powerful incentive to develop high tech medicine in the third-world countries would drain on their scarce health care resources, which would significantly harm most people in those countries.DOWNLOAD HISTORY | This article has been downloaded 15 times in Digital Commons before migrating into this platform.


2020 ◽  
Vol 37 ◽  
Author(s):  
Andreyanna IVANCHENKO

Abstract The aim of this study was to evaluate the effectiveness of Reiki (as well as the effectiveness of Physical Activities) on relatively healthy individuals (not hospital patients), members of a sample of 338 volunteers, and to confirm whether practicing Reiki contributes to psycho-emotional stabilization, having a beneficial impact on mood and emotional wellbeing. For the first time, a positive confirmation of Reiki was carried out in Ukraine. The respondents were divided into two main groups: non-Reikists (individuals who did not practice Reiki) and Reikists (individuals who practiced or taught Reiki). It was found that, in comparison with non-Reikists, the results obtained by Reikists were twice as good, showing higher levels of emotional comfort, less anxiety/dissatisfaction, and more optimism, energy and self-confidence. At that, senior pupils and university students of psychology performed worse. This study confirms that the practice of Reiki is a quickly healing, stimulating, long-term, and cost-effective technique, positively influencing to positive well-being, mood and psychosomatic responses.


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