Further Along the Fourth Stage of Meaning: Lonergan, Alterity and ‘Genuine’ Religion

2019 ◽  
Vol 85 (1) ◽  
pp. 64-79
Author(s):  
John Dadosky

The chapter on religion in Bernard Lonergan’s Method in Theology is a rich compilation of many ideas that were important to his thought throughout his career. It is at once a theory of ‘genuine’ religion, a theory of the distortions of such religion, and an expansion of his theology of grace into a wider ecumenical multi-religious or universalist context, to name a few. This essay draws upon that chapter to investigate a further development of Lonergan’s thought of a fourth stage of meaning to be added to his three stages of meaning. Among other things, the fourth stage of meaning anticipates a global age of inter-religious and social cooperation. It also enables one to avoid the danger of the third stage with an overemphasis on interiority by bringing emphases upon vertical and horizontal alterity. Moreover, in the context of Method in Theology as a whole, this theory also raises questions about the future of systematic theology in view of the emerging fourth stage as a distinct differentiated realm.

2015 ◽  
Vol 5 (3) ◽  
pp. 185-200
Author(s):  
Robert Z. Birdwell

Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.


Horticulturae ◽  
2021 ◽  
Vol 7 (6) ◽  
pp. 131
Author(s):  
Matteo Zucchini ◽  
Arash Khosravi ◽  
Veronica Giorgi ◽  
Adriano Mancini ◽  
Davide Neri

The growth of cherry fruit is generally described using a double sigmoid model, divided into four growth stages. Abiotic factors are considered to be significant components in modifying fruit growth, and among these, the vapor pressure deficit (VPD) is deemed the most effective. In this study, we investigated sweet cherry fruit growth through the continuous, hourly monitoring of fruit transversal diameter over two consecutive years (2019 and 2020), from the beginning of the third stage to maturation (forth stage). Extensometers were used in the field and VPD was calculated from weather data. The fruit growth pattern up to the end of the third stage demonstrated three critical steps during non-rainy days: shrinkage, stabilization and expansion. In the third stage of fruit growth, a partial clockwise hysteresis curve of circadian growth, as a response to VPD, appeared on random days. The pattern of fruit growth during rainy days was not distinctive, but the amount and duration of rain caused a consequent decrease in the VPD and indirectly boosted fruit growth. At the beginning of the fourth stage, the circadian growth changed and the daily transversal diameter vs VPD formed fully clockwise hysteresis curves for most of this stage. Our findings indicate that hysteresis can be employed to evaluate the initial phenological phase of fruit maturation, as a fully clockwise hysteresis curve was observable only in the fourth stage of fruit growth. There are additional opportunities for its use in the management of fruit production, such as in precision fruit farming.


Parasitology ◽  
1946 ◽  
Vol 37 (3-4) ◽  
pp. 192-201 ◽  
Author(s):  
J. F. A. Sprent

A description is given of the processes of copulation, formation of the egg and spermatozoon, cleavage, embryogeny and hatching in B. phlebotomum. These processes were found to be essentially similar to those in other strongyle nematodes.The anatomy of the first three larval stages is described and the observations of Conradi & Barnette (1908) and Schwartz (1924) were largely confirmed.Penetration of the skin of calves by the infective larva was observed histologically. The larvae were found to have reached the dermis within 30 min. and to have penetrated the cutaneous blood vessels within 60 min. of application to the skin. The larvae were found in the lung where the third ecdysis was in progress 10 days after penetration of the skin. A description is given of the growth of the third-stage larva in the lung, the changes which take place during the third ecdysis, and the anatomy of the fourth-stage larva.The fourth-stage larvae exsheath in the lungs and travel to the intestine. After a period of growth in which sexual differentiation takes place, the fourth ecdysis occurs and the adult parasite emerges. The time required for the attainment of maturity was found to be somewhere between 30 and 56 days after penetration of the skin.This paper was written at the Ministry of Agriculture and Fisheries Veterinary Laboratories, Wey-bridge, and the writer would like to express his gratitude to the Director, Prof. T. Dalling, also to Dr W. R. Wooldridge, chairman of the Council of the Veterinary Educational Trust for their help and encouragement. The writer's thanks are also due to Dr H. A. Baylis, Prof. R. T. Leiper and Dr E. L. Taylor for their advice and help on technical points, and to Mr R. A. O. Shonekan, African laboratory assistant, for his able co-operation.


2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.


2020 ◽  
Vol 2 (3) ◽  
pp. 301-320
Author(s):  
Muhamad Sidik Triadi ◽  
Irfan Sanusi ◽  
Lida Imelda Cholidah

ABSTRAK Penulisan ini bertujuan untuk mengetahui manajemen humas radio Rama FM Bandung dalam meningkatkan pemasang iklan dari mulai tahapan perencanaan, pengorganisasian, pelaksanaan sampai dengan pengawasan, metode penelitian ini menggunakan metode kualitatif untuk mengetahui karakteristik  dengan cara berinteraksi secara langsung dan mendalam mengenai sebuah program dan ringkasan yang digambarkan pada konteks di atas mendasari untuk menggali dan mendeskripsikan kegiatan-kegiatan yang dijalankan oleh radio Rama FM Bandung dalam meningkatkan pemasang iklan. Analisis penelitian ini menggunakan deskriptif kualittaif. Hasil penelitian menunjukan bahwa kegiatan manajemen humas radio Rama FM Bandung dalam meningkatkan pemasang iklan dimulai pada tahapan pertama yaitu perencanaan pembuatan proposal, inovasi program, pengemasan iklan dan penyampaian iklan. Tahapan kedua yaitu pengorganisasian dengan komunikasi, membentuk team, pertimbangan tugas, dan persetujuan dari pimpinan. Tahapan ketiga yaitu pelaksanaan sesuai tugas, presentasi, pelaksanaan tugas sesuai susunan, pelaksanaan kegiatan. Tahap keempat yaitu pengawasan koordinasi, kinerja team yang bertugas, program yang berlangsung, dan pengawasan proses sebagai bahan evaluasi. Kata Kunci : Manajemen Humas; Meningkatkan; Pemasang Iklan. ABSTRACT This writing aims to determine radio public relations management Rama FM Bandung in increasing advertisers from the stages of planning, organizing, implementation to supervision, this research method uses a case study method to determine the characteristics by interacting directly and deeply about a case and summary illustrated in the above context underlying to explore and describe the activities carried out by radio Rama FM Bandung in improving advertisers. The analysis of this study uses descriptive qualitative. The results showed that the radio public relations management activities of Rama FM Bandung in increasing advertisers began in the first stage, namely the planning of making proposals, program innovation, packaging of advertisements and delivery of advertisements. The second stage is organizing with communication, forming teams, considering assignments, and approval from the leadership. The third stage is the implementation of tasks, presentations, implementation of tasks according to the arrangement, implementation of activities. The fourth stage is monitoring coordination, the performance of the team in charge, the ongoing program, and monitoring the process as an evaluation material. Keywords : Management Public Relations; Improve; Advertiser.


2020 ◽  
Vol 2 (1) ◽  
pp. 33-42
Author(s):  
Gita Sispratiwi Faja ◽  
Nyoman Miyarta Yasa

The National Agency for the Control of Britain (BNPB) noted that 515 people died from the earthquake in Lombok, West Nusa Tenggara (NTB). Seeing this problem, the author wants to make an animation of earthquake disaster relief procedures that will be used by the BPBD as an additional medium for socializing and delivering information to increase public knowledge about procedures for saving earthquake disasters, especially children. In the process of making this animation using the pipeline method which includes three stages, namely the first stage of pre-production, the second stage of production The third stage of post-production. After doing all the stages are expected to be able to produce animation procedures for earthquake disaster rescue for children. So that this animated video can be used as a media for information dissemination or information delivery by the West Nusa Tenggara Province BPBD office which is more effective for introducing elementary school students. To determine the feasibility of the animation that was made, a beta test was conducted by submitting questionnaires to 30 respondents. The results obtained are animated procedures for rescuing earthquake disasters for children to be used as media for information dissemination or delivery of information by the West Nusa Tenggara Province BPBD office.


Author(s):  
Roger Broetto Rocha ◽  
Lucio Martins Fassini Da Silva ◽  
Cleiton Kenup Piumbini ◽  
Luiz Otavio Buffon ◽  
Marconi Frank Barros

Resumo: Este trabalho tem por objetivo relatar uma atividade didática, realizada no Programa Institucional de Bolsas de Iniciação à Docência (PIBID), envolvendo o ensino de Astronomia numa turma do primeiro ano do ensino médio de uma escola do município de Vitória, ES. A atividade foi planejada e executada pelo subprojeto do Curso de Licenciatura em Física do IFES – Campus Cariacica. A metodologia foi baseada na Gamificação aplicada ao ensino-aprendizagem. A intervenção ocorreu em três etapas, sendo a primeira realizada em dois encontros, através de apresentações dialogadas sobre Astronomia usando slides e gifs, a segunda consistiu na aplicação da Gamificação através de um jogo e finalizando com a terceira etapa, foi aplicado um pequeno questionário. Ao final houve um momento de avaliação e as análises constataram que o ensino de Astronomia através da atividade gamificada do jogo conseguiu motivar os alunos, despertar o interesse pelo assunto e produzir indícios de aprendizagem.Palavras-chave: Gamificação em sala de aula; Ensino de Astronomia; PIBID. Gamification in astronomy teachingAbstract: This work aims to report on a didactic activity, carried out in the Institutional Program for Teaching Initiation Scholarships (PIBID), involving the teaching of Astronomy in a class of the first year of high school at a school in the city of Vitória, ES. The activity was carried out by the subproject of the Physics Degree Course at IFES - Campus Cariacica. The intervention took place in three stages, the first being in two meetings, through dialogued presentations on Astronomy using slides and gifs, the second consisted of the application of Gamification through a game and ending with the third stage, a small questionnaire was applied. At the end there was a moment of evaluation and the analyzes found that the teaching of Astronomy through the gamified activity of the game managed to motivate students, arouse interest in the subject and produce evidence of learning.Keywords: Gamification activity in the classroom; Astronomy teaching; PIBID. 


HERALD ◽  
2017 ◽  
Vol 7 (19) ◽  
Author(s):  
Abousa Hadoud

Urban planning in Libya in general effectively contributed to preparation of comprehensive and the public plans for all Libyan cities. especially after the issuance of Law No. (5) of 1969, concerning the planning of cities and villages, three key schemes have been developed in three stages starting from the first phase for years 1968 to 1988, and the second stage years from 1988 to 2000, and the third stage years 2000 to 2025. Goal of such schemes is to make a balance between the natural increase of population and urban mass, in order to achieve urban development and environment and preserve of the environment and urban environment from degradation and the spread of degraded areas in Libyan cities. But a number of problems disrupted the planning, and have had effects on the urban development in Libya.


Author(s):  
A. V. Tevelev ◽  
A. A. Borisenko ◽  
M. I. Erokhina ◽  
S. S. Popov ◽  
I. A. Kosheleva ◽  
...  

The Katav-Ivanovsk transpression zone experienced at least two stages of tectonic deformations, and the sequence of deformations was approximately the same throughout the entire zone — from the Bakal-Satka fault in the south to the Suleimsky fault in the north. Three stages of the formation of parageneses were identified. The parageneses of the first and the second stages were formed in a pure shear environment, and the paragenesis of the third stage — in a simple shear environment. There are stylolites (S1) parallel to bedding, and mineral veins (V1) in the paragenesis of the first stage. Paragenesis of the second stage combines stylolites (S2), mineral veins (V2) and intergranular cleavage (S2). In paragenesis of the third stage were distinguished schistosity (S3), milonites (S3), cataclasites, mica packets (SC-textures), and the rotation structures of porphyroblasts.


2021 ◽  
Vol 64 (2) ◽  
pp. 309-320
Author(s):  
Mihajlo P. Fejsa

In this paper, the author compares chromatic terms in Ruthenian and Serbian. He focuses on the basic colour terms according to Berlin and Kay: white, black, red, green, yellow, blue, brown, purple, pink, orange, and grey. They have equivalents in both languages: Ruthenian bila – Serbian bela, čarna – crna, červena – crvena, željena – zelena, žovta / žolta – žuta, belava – plava, braon – braon, lilova – ljubičasta, celova – roze, pomarančecova /poma- randžecova – narandžasta, šiva – siva. The criterion of one-morpheme word is not appli- cable to the terms lilova, celova, and pomarančecova /pomarandžecova in Ruthenian, and ljubičasta and narandžasta in Serbian. It is applicable to the terms bila, čarna, červena, željena, žovta / žolta, belava, braon, and šiva. With the exception of braon, all these terms are derived from the Proto-Slavic language (*bеlъ, *čьrnъ, *čьrvenъ, *zelenъ, *žltъ, *polvь, and *sivъ). As far as the Berlin–Kay’s universal of seven phases of colour formation is con- cerned, our study of chromatic terminology confirms it. In accordance with the supposed first stage of development, the Ruthenian language has bila and čarna; according to the second stage, Ruthenian has červena; in accordance with the third stage, Ruthenian has že- ljena or žovta / žolta; according to the fourth stage, Ruthenian has žovta / žolta or željena; in accordance with the fifth stage, Ruthenian has belava; according to the sixth stage, it has braon; and in accordance with the seventh stage (even if we leave aside the multi-mor- pheme terms lilova, celova, and pomarančecova /pomarandžecova), it has šiva. Generally speaking, the usage of the terms is identical in both investigated languages but there are several differences (e.g. cibulja – beli luk, željena pasulja – boranija). The most frequent suffixes are -asta and -ista in Ruthenian, and -asta in Serbian.Most of the chromatic terms are of Slavic origin but there are several borrowings used for nuance purposes in recent decades, e.g. azurna, teget, akvamarin, tirkizna, and others. Some borrowings remain unchanged, e.g. in both languages blond, braon, drap, krem, bež, and oker, and only in Serbian lila and roze. Hungarian was the official language until the first decades of the 20th century (until the collapse of the Austro-Hungarian Monarchy in 1918), during which Ruthenian–Hungarian bilingualism reigned. That is the reason why several Hungarian colour names are found, e.g. in surnames (the Ruthenian surname Barna comes from Hungarian barna ‘brown’, Fekete/Feketa is from fekete ‘black’, and Vereš is from vörös ‘red’) and in the names of domestic animals (the Ruthenian horse name pejka [Serbian riđan] comes from Hungarian pej ‘brown’ and šarga [Serbian žutalj] is from sár- ga ‘yellow’). The general name for ‘colour’ comes from the German language (Ruthenian farba is from German Farbe).


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