Charity and grace

2022 ◽  
pp. 146349962110578
Author(s):  
João Pina-Cabral

This essay attempts to reconcile charity with grace, the central concepts of two thinkers whose views may seem irreconcilable to many: Donald Davidson, an analytical philosopher and the most distinguished follower of Quine; and Julian Pitt-Rivers, an Europeanist anthropologist, who wrote at length on Spain and Southern France. The latter's historicist exegesis of gracia points to basic aspects of human experience that are also salient in the reduction to basics that Davidson carried out concerning interpretation and truth. For Davidson, in the face of ultimate indeterminacy, interpretation is made possible due to the rational accommodation that charity sparks off. For Pitt-Rivers, gratuity highlights how processes of personal interaction depend on the drawing of shared trajectories: that is, not only do I have to grant others charity to make sense of them, I also have to frame others as subjects with a future by relation to myself as already in existence. The paper proposes that human interaction involves processes of sensemaking that integrate shared intentionality (i.e. the credit with which we respond to the indeterminacy of meaning) with shared experience (i.e. the debt implicit in the ultimate underdetermination of the world's entities). Thus, it brings both concepts together under the label of charis, their common etymological root, suggesting that the dynamic it represents is a broader feature of life itself.

2008 ◽  
Vol 38 (4) ◽  
pp. 601-629
Author(s):  
Maura Tumulty

Some theories of language, thought, and experience require their adherents to say unpalatable things about human individuals whose capacities for rational activity are seriously diminished. Donald Davidson, for example, takes the interdependence of the concepts of thought and language to entail that thoughts may only be attributed to an individual who is an interpreter of others’ speech. And John McDowell's account of human experience as the involuntary exercise of conceptual capacities can be applied easily only to individuals who make some reasonable judgments, because conceptual capacities are paradigmatically exercised in judgments. In both cases, we seem forced towards an error theory about any ordinary understanding of impaired human individuals as minded, or as undergoing human experience.


10.34690/125 ◽  
2021 ◽  
pp. 6-36
Author(s):  
Роман Александрович Насонов

Статья представляет собой исследование религиозной символики и интерпретацию духовного смысла «Военного реквиема» Бриттена. Воспользовавшись Реквиемом Верди как моделью жанра, композитор отдал ключевую роль в драматургии сочинения эпизодам, созданным на основе военных стихов Оуэна; в результате произведение воспринимается подобно циклу песен в обрамлении частей заупокойной мессы. Военная реальность предстает у Бриттена амбивалентно. Совершая надругательство над древней верой и разбивая чаяния современных людей, война дает шанс возрождению религиозных чувств и символов. Опыт веры, порожденный войной, переживается остро, но при всей своей подлинности зыбок и эфемерен. Церковная традиция хранит веру прочно, однако эта вера в значительной мере утрачивает чистоту и непосредственность, которыми она обладает в момент своего возникновения. Бриттен целенаправленно выстраивает диалог между двумя пластами человеческого опыта (церковным и военным), находит те точки, в которых между ними можно установить контакт. Но это не отменяет их глубокого противоречия. Вера, рождаемая войной, представляет собой в произведении Бриттена «отредактированный» вариант традиционной христианской религии: в ее центре находится не триумфальная победа Христа над злом, а пассивная, добровольно отказавшаяся защищать себя перед лицом зла жертва - не Бог Сын, а «Исаак». Смысл этой жертвы - не в преображении мира, а в защите гуманности человека от присущего ему же стремления к агрессивному самоутверждению. The study of religious symbolism and the interpretation of the spiritual meaning of “War Requiem” by Britten have presentation in this article. Using Verdi's Requiem as a model of the genre, the composer gave a key role in the drama to the episodes based on the war poems by Wilfred Owen; as a result, the work is perceived as a song cycle framed by parts of the funeral mass. The military reality appears ambivalent. While committing a blasphemy against the ancient belief and shattering the aspirations of modern people, the war offers a chance to revive religious feelings and symbols. This experience of war-born faith is felt keenly, but for all its authenticity, it is shaky and ephemeral. The church tradition keeps faith firmly, but this faith largely loses the original purity and immediacy. Britten purposefully builds a dialogue between the two layers of human experience (church and military), finds those points where contact can be established between them. But this does not change their profound antagonism. In Britten's work, faith born of war is an “edited” version of the traditional Christian religion: in its center is not the triumphant victory of Christ over evil, but a passive sacrifice that voluntarily refused to defend itself in the face of evil-not God the Son, but “Isaac.” The meaning of this sacrifice is not in transforming the world, but in protecting the humanity of a person from his inherent desire for aggressive self-assertion.


Forests ◽  
2021 ◽  
Vol 12 (12) ◽  
pp. 1671
Author(s):  
Lee Hill ◽  
Edward Ashby ◽  
Nick Waipara ◽  
Robin Taua-Gordon ◽  
Aleesha Gordon ◽  
...  

In Aotearoa/New Zealand, the soilborne pathogen Phytophthora agathidicida threatens the survival of the iconic kauri, and the ecosystem it supports. In 2011, a surveillance project to identify areas of kauri dieback caused by Phytophthora agathidicida within the Waitākere Ranges Regional Park (WRRP) highlighted the potential impact of the pathogen. A repeat of the surveillance in 2015/16 identified that approximately a quarter of the kauri area within the Regional Park was infected or possibly infected, an increase from previous surveys. The surveillance program mapped 344 distinct kauri areas and showed that 33.4% of the total kauri areas were affected or potentially affected by kauri dieback and over half (58.3%) of the substantial kauri areas (above 5 ha in size) were showing symptoms of kauri dieback. Proximity analysis showed 71% of kauri dieback zones to be within 50 m of the track network. Spatial analysis showed significantly higher proportions of disease presence along the track network compared to randomly generated theoretical track networks. Results suggest that human interaction is assisting the transfer of Phytophthora agathidicida within the area. The surveillance helped trigger the declaration of a cultural ban (rāhui) on recreational access. Te Kawerau ā Maki, the iwi of the area, placed a rāhui over the kauri forest eco-system of the Waitākere Forest (Te Wao Nui o Tiriwa) in December 2017. The purpose of the rāhui was to help prevent the anthropogenic spread of kauri dieback, to provide time for investment to be made into a degraded forest infrastructure and for research to be undertaken, and to help protect and support forest health (a concept encapsulated by the term mauri). Managing the spread and impact of the pathogen remains an urgent priority for this foundation species in the face of increasing pressures for recreational access. Complimentary quantitative and qualitative research programs into track utilization and ecologically sensitive design, collection of whakapapa seed from healthy and dying trees, and remedial phosphite treatments are part of the cross-cultural and community-enabled biosecurity initiatives to Kia Toitu He Kauri “Keep Kauri Standing”.


Author(s):  
John T. Hamilton

This chapter considers Gottfried Wilhelm Leibniz who devoted his philosophic and scientific career to harmonizing discordances and unifying disparities, calculating the otherwise incalculable and reconciling the seemingly unreconciliable. The universalizing thrust of Leibniz's thinking is of a piece both with his ecumenism and with his moral and political views. The Cartesian who rejects phenomena as false simply because they can be doubted lacks the courage to face conflicts that may arise within any aspect of human experience. Instead, Leibniz refused to be daunted by uncertainty. In this regard, he should be numbered among those seventeenth-century theoreticians of probability like Pierre de Fermat, Blaise Pascal, and Jakob Bernoulli, who strove to develop models of rational judgment and action in the face of grave uncertainty.


Author(s):  
Alan César Belo Angeluci

In studies on mobile communication, a topic that has been of particular interest is the impact of increased adoption and use of mobile devices in everyday activities and in the context of interpersonal relationships. However, the ease of accessing digital content and connecting to people physically distant through the recent mobile communication technologies has shown barriers and opportunities in human interaction. Based on the theoretical approaches on identity and relational artifacts grounded in mobility and absent presence concepts, this paper describes some aspects among young people in Brazil in relation to the “phubbing” phenomenon. The term was coined to describe the act of ignoring someone due to the use of a smartphone. The results indicated effects on the level of attention and interaction, regarding not only the content of smartphone, but also the social protocol and the face-to-face communication.


PMLA ◽  
2009 ◽  
Vol 124 (1) ◽  
pp. 150-155 ◽  
Author(s):  
Roland Greene

Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.


1998 ◽  
Vol 8 (1) ◽  
pp. 27-50 ◽  
Author(s):  
Mark Freeman

Despite the belief that narrative may serve as an important vehicle for exploring human experience and selfhood, there frequently exists the paradoxical supposition that narrative accounts cannot help but falsify life itself: Insofar as time is viewed in fundamentally linear terms and experience, in turn, is viewed as that which simply "goes on" in time, narratives may be viewed as entailing an imposition of literary form upon that which is ostensibly formless. After considering the idea of mythical time, tied to the image of the circle, and the idea of historical time, tied to the image of the line, it is suggested that human experience and selfhood are themselves woven out of the fabric of narrative. In light of contemporary understandings of the self, particularly those promoted in certain quarters of post-structuralist and social constructionist thought, it is further suggested that the narrative fabric of the self has become frayed. By rethinking the interrelationship of time, experience, and self via the idea of narrative, there emerges the opportunity to recognize more fully the profound continuities between myth and history as well as life and literature. (Hermeneutics, History, Myth, Narrative, Self, Time)


Author(s):  
Albert R. Jonsen

The problem that I will discuss in this essay is marvellously illustrated in the title given to me by the editors. The word “interface” is itself part of the jargon of technology, the technospeak needed by those who develop, use, and discuss functions, things, and relationships that had not existed previously in the human world. They must make up new words to describe new realities (and, unfortunately, allow new and ugly words to obscure old ones). An “interface” presumably describes the way in which one electronic system contacts another so that the first energizes the second. In the old world of human experience, an “interface” is impossible. The face of one human being is visible to another; two faces, smiling or frowning at each other, communicate. The mind behind one face can interpret the movements of another. Never does one human face interpenetrate or merge with another.


2006 ◽  
Vol 47 (2) ◽  
pp. 231-237
Author(s):  
Joan Herrington

In the February 2005 issue of American Theatre, Ben Cameron considered impending season selection at theatres across the country and noted, “There are no magic bullets. God knows, I wish there were—especially in these times. … Even in the face of critical raves, standing ovations and a true sense of artistic pride, many have still fallen short of attendance goals.”2 Cameron explored a range of possible solutions to dwindling audiences: a season with no classics, or perhaps only classics; maybe opera, or A Christmas Carol, or the ever-popular Waiting for Godot. Indeed, the need to build audiences haunts most contemporary practitioners as we struggle to reestablish the place of theatre in the midst of its media sisters. It is a global issue, as noted in a column by Bhaskar Ghose in Frontline, a national Indian magazine: “Theatre needs to recapture its participative quality and density of human experience in order to woo the audience back from television and films. …”3 How then, do we build the base?


Author(s):  
K. V. Usha Ramani

One of the crucial difficulties we aim to find in computer vision is to recognize items automatically without human interaction in a picture. Face detection may be seen as an issue when the face of human beings is detected in a picture. The initial step towards many face-related technologies, including face recognition or verification, is generally facial detection. Face detection however may be quite beneficial. A biometric identification system besides fingerprint and iris would likely be the most effective use of face recognition. The door lock system in this project consists of Raspberry Pi, camera module, relay module, power input and output, connected to a solenoid lock. It employs the two different facial recognition algorithms to detect the faces and train the model for recognition purpose


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