The Heart beyond Hearts

2008 ◽  
Vol 12 (1) ◽  
pp. 186-189
Author(s):  
Swami Tyagananda
Keyword(s):  
Religious Traditions ◽  
The Senses ◽  
Vision Of God ◽  
The Mind

AbstractMany religious traditions ascribe to the term "heart" a meaning that goes beyond the physical and the emotional levels. In Hinduism, the discovery of the spiritual heart is generally seen as a precursor to higher experiences that transcend the mind and the senses, and culminate in the vision of God. This essay briefly describes the Hindu view of the spiritual heart, where the heart is located, and how it is experienced.

scholarly journals The teachings of Alexei Chernyakov about the soul and mind: reflections and comments

2021 ◽  
Author(s):  
Oleg Gushchin
Keyword(s):  
General Feeling ◽  
The Senses ◽  
Continuous Dynamic ◽  
Common Feeling ◽  
The Moment ◽  
The Mind

Chernyakov in his famous monograph reveals the concept of the soul through the opposite — the concept of the mind. But the point is not only in the explication of the concept through the opposite meaning. Following the logic of Chernyakov, the soul and mind at a certain stage fall into a kind of dynamic unity as the highest participation in the divine gaze. Being, according to Aristotle, a common feeling, the soul is through continuous “flipping” of private feelings, and so that in the formula: “I feel and understand what I feel,” the second term is exfoliated, i.e. the terminological limitation has been removed. As a result, the pure movement “feel the feeling of feeling” is released as a continuity of sensual evidence. The soul lives in the gaps of the mind and sees its infinity in them. Chernyakov draws attention to the fact that any distinction is simultaneously and latently the moment of binding distinctions. But the moments of discrimination / binding in soul and mind are given in different ways. Awakening (discriminating), the soul simultaneously connects the different so as to survey the all-encompassing expanse of itself and all that exists in the unity of self-movement. The soul, like the mind, is a form without matter, but in a different way from the mind. The soul also moves towards the object, but does not deviate from it to meet with itself, as the mind does, but passes through the object at the moment when it is already (still) decomposed or is in a de-objectified form. An object, being the energy of the mind, is "weathered" in relation to the soul, leaving a kind of living sensory imprint, the soul revives when it connects sensory imprints of objects, meeting itself in them. Chernyakov, referring to Aristotle, believes that the general feeling really contains in some way all the objects of the senses (but without matter). We explain to ourselves that these objects are in a de-objectified form. Unimpeded by overcoming (opening) the gap of the mind, the soul “sees” (binds) a multitude of sensory forms, in each of which a free gaze as such is released. This is not a gaze fixed on something unchanging. And it is also not a perception, which, as part of a speculative form, adds a new “perceive something” to “I perceive something”. Now the act: “I perceive something” is opened and partially discarded, leaving only an independent, continuous dynamic attachment in the remainder: “perceives” + “perceives” + “perceives”, etc.

scholarly journals The Employment of Metaphor and Simile in Selected Siswati Poetry

2019 ◽  
Vol 15 (5) ◽  
pp. 181
Author(s):  
Jozi Joseph Thwala
Keyword(s):  
Literary Criticism ◽  
Textual Analysis ◽  
Language Skills ◽  
Research Work ◽  
Real Life ◽  
Connotative Meaning ◽  
Figures Of Speech ◽  
Poetic Diction ◽  
The Senses ◽  
The Mind

The focus of this research work on selected descriptive of images refers to the analytic survey of metaphor and simile. They are selected, defined, explained and interpreted. Their significances in bringing about poetic diction, licence, meaning, message and themes are highlighted. They are fundamental figures of speech that implicitly and explicitly display the emotive value, connotative meaning, literariness and language skills. The poetic images reflect and represent real life situations through poetic skills and meanings. The literary criticism, comparative and textual analysis is evident when the objects are looked at from animate to inanimate and inanimate to animate. They serve as basic methodologies that are backing the theories and strategies on selected figures of speech. Imagery is the use of words that brings picture of the mind of the receiver or recipient and appeal to the senses. It is, however, manifested in various forms for resemblances, contrasts and comparisons. Artistic language through images revealed poetic views, assertion and facts.

The Intersections of Creativity, Technology, and the Mind

2020 ◽  
pp. 123-140
Author(s):  
Audri Phillips
Keyword(s):  
Artificial Intelligence ◽  
Computer Vision ◽  
Motion Capture ◽  
Human Mind ◽  
Media Technology ◽  
The Senses ◽  
Creativity Studies ◽  
The Mind ◽  
Immersive Technologies

This chapter examines the relationships between technology, the human mind, and creativity. The chapter cannot possibly cover the whole spectrum of the aforementioned; nonetheless, it covers highlights that especially apply to new immersive technologies. The nature of creativity, creativity studies, the tools, languages, and technology used to promote creativity are discussed. The part that the mind and the senses—particularly vision—play in immersive media technology, as well as robotics, artificial intelligence (AI), computer vision, and motion capture are also discussed. The immersive transmedia project Robot Prayers is offered as a case study of the application of creativity and technology working hand in hand.

Our Lady of Art

2020 ◽  
pp. 121-142
Author(s):  
Thomas J. Ferraro
Keyword(s):  
Roman Catholic ◽  
Sexual Intimacy ◽  
Male Gaze ◽  
Same Sex ◽  
Expressive Culture ◽  
Avant Garde ◽  
The Senses ◽  
The Mind ◽  
Washington Square

Chapter 5 examines Willa Cather’s neglected story, “Coming, Aphrodite” in light of her fascination with the bodily presentation that Camille Paglia would later call “sexual personae”—for which Cather develops her own Marian interpretive sensibility, half Roman Catholic and half Pagan, as a deliberate counterforce to the Puritan heritage deflating U.S. artistic and expressive culture. In her twenties, Cather was a prodigious journalist fascinated by the radiant figurae of statuary, painting, drama, poetry, and fiction both home and abroad—which she interrogated in explicitly religious terms, with a particular affinity for both Marian-Catholic dissent from the Puritan denial of the senses and its alternative of graced intercession. Cather learns to invite readers to the redemptive power of forbidden love: sex for its own sake, adultery whether intermittent or sustained or only imagined, same-sex beatings of the heart and meetings of the mind. Then, in “Coming, Aphrodite!,” in a way more literal that her readers could possibly have expected, Cather stages the male gaze of an avant-garde, sexually disciplined and romantically impervious, young painter in Washington Square, Don Hedger, who finds himself in thrall—through a closet peephole!—to the artful exhibitionism in body and song of an equally ambitious, alternatively brilliant ingénue, Eden Bower. Their pas de deux produces a profound, profoundly mutual, yet never-to-be domesticated, sexual intimacy, non-reproductive but dually procreative—all of it conducted under signs of Roman Latinate and Indo-Latino Catholicism, including a story within the story entitled “The Forty Lovers of the Princess.”

An Empirical Account of Mind

1975 ◽  
Vol 9 ◽  
pp. 66-78
Author(s):  
D.M. Taylor
Keyword(s):  
Empirical Theory ◽  
The Senses ◽  
The Mind

What could an empirical theory of the Mind be? Surely one which demonstrated that questions about the existence of minds were empirical questions – to be decided by observation, by the senses. This in turn would require an explanation of the meaning of statements about minds or mental states in terms referring to observable events, states and objects.

Lucretius, 4.420–25

1995 ◽  
Vol 45 (1) ◽  
pp. 253-256
Author(s):  
Michael Dyson
Keyword(s):  
Optical Illusions ◽  
The Senses ◽  
The Mind ◽  
The Way

This passage occurs in a series of examples of optical illusions which Lucretius provides in order to illustrate the way in which the mind can misinterpret the evidence of the senses. There are no manuscript variations relevant to the problem which I wish to discuss.The situation envisaged is that in fording a swift river, a horse has come to a halt in mid-stream. ‘We’, that is, the rider, look down into the rushing water and get the impression that our horse is moving sideways and upstream, although the horse is in fact stationary. And wherever we turn our eyes across the water, everything seems to be in motion. The question is, what is meant by the word ‘everything’, that is, omnia in line 424? Bailey interprets: ‘when after looking down for some time at the rushing stream, we then look up at the objects on the bank, they all seem to be moving.! Similarly Leonard and Smith take the reference to be to’ all objects on the bank or all stones, etc., sticking out of the stream.’ In this case the words ‘assimili nobis ratione’ must be taken closely together: the objects on the bank seem to be moving upstream in the same way that we ourselves appear to do.

The Classification of Smells and the Order of the Senses in Indian Religious Traditions

Numen ◽  
2007 ◽  
Vol 54 (4) ◽  
pp. 374-419 ◽  
Author(s):  
James McHugh
Keyword(s):  
South Asia ◽  
Sensory Experience ◽  
The Other ◽  
Aesthetic Value ◽  
Religious Traditions ◽  
Sense Of Smell ◽  
The Senses

AbstractIn the course of producing complex analyses of sensory experience, traditional Hindu, Jain, and Buddhist scholars in South Asia examined the nature of smell. These scholars were most often interested in the fundamental qualities of smells, i.e. how many types of odor there are. Faced with this difficult task, the three sectarian groups initially produced three different accounts, though in later works most scholars adopted very similar classifications of smell. In part, this may be because of the difficulties involved in classifying smells, but the article also suggests that it was mutually beneficial to abandon contentious material in less significant parts of a system in order to focus discussion on more central issues. Amongst all the sense-objects, odors were most consistently defined by terms implying an aesthetic value. The article also examines the place of the sense of smell within the three different orders of the senses that these three schools of thought used. These sense-orders reflect divergent classificatory principles, and the place of smell in relation to the other senses highlights different aspects of the sense of smell. Unlike their stance on the classification of odors, the three schools of thought always maintained distinct orders of the senses, which must have been a regular reminder of difference in philosophical priorities.

CZY PAN COGITO ROZMYŚLA O SEKSIE? CIELESNOŚĆ, PŁCIOWOŚĆ I EROTYZM W TWÓRCZOŚCI ZBIGNIEWA HERBERTA (PRELIMINARIA) / Is Mr Cogito Thinking About Sex ? Corporeality , Sexuality and Eroticism in Zbigniew Herbert’s Writings (Preliminaries)

2013 ◽  
Vol 54 (1) ◽  
pp. 63-77
Author(s):  
Tomasz Tomasik
Keyword(s):  
Hegemonic Masculinity ◽  
The Body ◽  
The Senses ◽  
The Mind ◽  
Literary Output ◽  
Sense Of Touch ◽  
Personal Philosophy

Summary We will not find many erotic poems in Zbigniew Herbert’s literary output, but that does not mean that the poet ignores such anthropological themes as corporeality, sexuality and eroticism. The body in the Herbert’s poetry is used as the vehicle for the senses and mediates between the spiritual and the material. The most important senses are the sense of touch and sight, so the motif of hands and eyes often occurs in this poetry. Herbert’s male protagonist distances himself from the hard hegemonic masculinity. Taking the concept of Jung into account we can say that the animus is balanced by the anima. Zbigniew Herbert’s eroticism is expressed primarily by the language of sensitivity. The attitude, in which the mind is in agreement with the feelings, eros with logos, cogito with caritas, seems to be the most compatible with the personal philosophy of the poet.

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