Romanticism ◽  
2019 ◽  
Vol 25 (2) ◽  
pp. 180-189
Author(s):  
Rolf Lessenich

Though treated marginally in histories of philosophy and criticism, Byron was deeply involved in Romantic-Period controversies. In that post-Enlightenment, science-orientated age, the Platonic-Romantic concept of inspiration as divine afflatus linking the prophet-priest-poet with the ideal world beyond was no longer tenable without an admixture of doubt that turned religion into myth. As a seriously-minded Romantic sceptic in the Pyrrhonian tradition and commuter between the genres of sensibility and satire, Byron often refers to the prophet-poet concept, acting it out in pre-Decadent poses of inspiration, yet undercutting it with his typical Romantic Irony. In contrast to Goethe, who insisted on an inspired poet's sanity, he saw inspiration both as a social distinction and as a pathological norm deviation. The more imaginative and poetical the creation, the more insane is the poet's mind; the more realistic and prosaic, the more compos it is, though an active poet is never quite sane in the sense of Coleridge's ‘depression’, meaning his non-visitation by his ‘shaping spirit of imagination’.


2013 ◽  
Vol 28 (2) ◽  
pp. 297-335
Author(s):  
Howard Lesnick

God has made man with the instinctive love of justice in him,which gradually gets developed in the world …. I do not pretendto understand the moral universe; the arc is a long one, my eyereaches but little ways; I cannot calculate the curve and completethe figure by the experience of sight; I can divine it by conscience.And from what I see I am sure it bends towards justice.Theodore Parker (1853)A strange mystery it is that Nature, omnipotent but blind, in therevolutions of her … hurryings through the abysses of space, hasbrought forth at last a child, subject still to her power, but giftedwith sight, with knowledge of good and evil, with the capacity ofjudging all the works of his unthinking mother. [Gradually, asmorality grows bolder, the claim of the ideal world begins to befelt, [giving rise to the claim] that, in some hidden manner, theworld of fact is really harmonious with the world of ideals. Thusman creates God, all-powerful and all-good, the mystic unity ofwhat is and what should be.


2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.


Author(s):  
Gidon Eshel

This chapter provides an overview of the second part of the book. This part is the crux of the matter: how to analyze actual data. While this part builds on Part 1, especially on linear algebra fundamentals covered in Part 1, the two are not redundant. The main distinguishing characteristic of Part 2 is its nuanced grayness. In the ideal world of algebra (and thus in most of part 1), things are black or white: two vectors are either mutually orthogonal or not, real numbers are either zero or not, a vector either solves a linear system or does not. By contrast, realistic data analysis, the province of Part 2, is always gray, always involves subjective decisions.


Author(s):  
Ying-shih Yü

This is a thematic literary study of the “Utopian world” and the “world of reality” in China's greatest pre-modern novel. It shows how an ideal imaginary world where youth, beauty and love are kept safe is closely connected with the harsh, ugly and lustful world of reality. Thus, the collapse of the ideal world is seen as inevitable because it can never resist the erosion and invasion of the world of reality.


2020 ◽  
Author(s):  
Vasil Penchev

“Super-humans” is usually to be linked to Nietzsche or to Heidegger’s criticism to Nietzsche, or even to the ideology of Nazism. However, they can be properly underlain by philosophical and scientific anthropology as that biological species who will originate from humans eventually in the course of evolution. There is a series of more or less well-established facts in anthropogenesis, which would be relevant to the philosophical question about the “super-humans”: bipedalism, cooling by sweating, specific hair or its lack, omnivorous-ness, thumb opposition and apposition, vocal system of speech production, human brain, long childhood; our species is evolutionary young (about 200 000 years old), but it is the last survived descendant being genetically exceptionally homogenous (<00,01% genetic differences) of the genus “homo” (about 6 000 000 old). All this generates a few main features of our population: society, technics, language, and mind, which guarantee the contemporary absolute domination of mankind. The society has reached a natural limitation of earth. The technics depends on how much energy is produced. The mind is restricted by its carrier, i.e. by the brain. Thus only the language seems to be the frontier of any future development inducing a much better use of the former three. The recent informational technologies suggest the same. Language is defined as symbolic image of the world doubling it by an ideal or virtual world, which is fruitful for creativity and any modeling of the real world. Consequently, a gap between the material and the ideal world produces language. The language increases that gap in turn. Furthermore, the ideal world is secondary and derivative from the material world in origin and objectivity: Language serves for the world to be ordered. Thus language refers to the philosophical categories of ‘being’ and ‘time’. Any “super-language” should transcend some of those definitive borders of language and be a generalization. The involving of infinity can extend the language. Any human language is finite and addresses some finite reality. Thus the gap between reality and any model in language can be seen as that between infinity and its limitation to any finite representation: Finite representations dominate over society, technics, and the mind use. A “super-language” as an “infinite language” can be approached in a few reference frames: Husserl’s “Back to the things themselves!” if “phenomenon” in his philosophy is thought as the ‘word’ of the language of consciousness; the semantic and philosophical theory of symbol: from consciousness and language to reality; the concept of infinity in mathematics and its foundation: set or category theory; quantum mechanics and information: the coincidence of the quantum model and reality; quantum computer. Mankind is approached the problem of infinite language as the language of nature


Author(s):  
Brunello Lotti

This chapter reconstructs the topic of universals in the English Platonists’ epistemologies and ontologies. More and Cudworth restrict universals to the mental realm, stating that whatsoever exists without the mind is singular. Despite this nominalistic principle, universal concepts are not inductive constructions, but primarily divine thoughts and secondarily a priori innate ideas in the human mind. The archetypal theory of creation and the connection of finite minds to God’s Mind ensure their objective validity, in antithesis to Hobbes’ phenomenalism and sensationalism. Norris shares the archetypal theory of creation, but refuses innatism, and his doctrine of universals is framed in terms of his theory of the ideal world inspired by Malebranche. Both the Cambridge Platonists and Norris, opposing theological voluntarism, discuss the status of ideas in God’s mind, which oscillate from being merely thoughts of the divine intellect to being its eternal objects.


Sign in / Sign up

Export Citation Format

Share Document