scholarly journals Hermeneutics of Religious Symbolism in the Opera Giovanna d’Arco – Giuseppe Verdi.

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Edith Georgiana
Keyword(s):  
Giuseppe Verdi ◽  
Religious Symbolism

Sacred Rituals, the Body's Religious Symbolism and Human Trafficking  

2018 ◽  
Vol 1 (2) ◽  
pp. 57-65
Author(s):  
Cristina  Gavriluţă ◽  
◽  
Nicu Gavriluţă ◽  
◽  
◽  
...  
Keyword(s):  
Human Trafficking ◽  
Religious Symbolism

Hassan al-Turabi’s Religious Discourse on Faith, Renewal, and Ijtihād

2015 ◽  
Vol 32 (1) ◽  
pp. 75-94
Author(s):  
Gubara Said Hassan ◽  
Jabal M. Buaben
Keyword(s):  
Social Order ◽  
Public Discourse ◽  
Legal Reasoning ◽  
Religious Discourse ◽  
Religious Movement ◽  
Political Leader ◽  
Political Struggle ◽  
Religious Ideology ◽  
Religious Symbolism

The role of Islamic intellectuals is not confined to elaborating on the religious ideology of Islam. Equally important is their role in setting this religious ideology against other ideologies, sharpening and clarifying their differences, and thereby developing and intensifying one’s commitment to Islam as a distinct, divinely based ideology. Islam, as both a religion and an ideology, simultaneously mobilizes and transforms, legitimizes and preserves. It can be an instrument of power, a source and a guarantee of its legitimacy, as well as a tool to be used in the political struggle among social classes. Islam can also present a challenge to authority whenever the religious movement questions the existing social order during times of crisis and raises a rival power, as the current situation in Sudan vividly demonstrates. Throughout his political career, Hassan al-Turabi has resorted to religious symbolism in his public discourse and/or Islamic rhetoric, which could often be inflammatory and heavily reliant upon the Qur’an. This is, in fact, the embodiment of the Islamic quest for an ideal alternative. Our paper focuses on this charismatic and pragmatic religio-political leader of Sudan and the key concepts of his religious discourse: faith (īmān), renewal (tajdīd), and ijtihād(rational, independent, and legal reasoning).

Grand Illusion

2020 ◽  
Author(s):  
Gabriela Cruz
Keyword(s):  
Karl Marx ◽  
Walter Benjamin ◽  
Richard Wagner ◽  
Giuseppe Verdi ◽  
Theodor Adorno ◽  
Tristan Und Isolde ◽  
Giacomo Meyerbeer ◽  
History Of ◽  
Grand Opera ◽  
Philosophical Understanding

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.

The Sacred Meadows: A Structural Analysis of Religious Symbolism in an East African Town

African Arts ◽  
1976 ◽  
Vol 9 (2) ◽  
pp. 70
Author(s):  
Edward Soja ◽  
Abdul Hamid M. el Zein
Keyword(s):  
Structural Analysis ◽  
East African ◽  
Religious Symbolism

Populism, Religion and Catholic Civil Society in Poland: The Case of Primary Education

2021 ◽  
pp. 1-16
Author(s):  
Dorota Szelewa
Keyword(s):  
Social Justice ◽  
Civil Society ◽  
Primary Education ◽  
Sexuality Education ◽  
Moral Panic ◽  
School Entry ◽  
School Age ◽  
Religious Symbolism ◽  
The People ◽  
The Government

This article analyses two cases of populist mobilisation – namely, one against a primary school entry-age reform and another against WHO sexuality education and the concept of gender – that took place in Poland between 2008 and 2019. Both campaigns had a populist character and were oriented towards restoring social justice taken away from ‘the people’ by a morally corrupted ‘elite’. There are differences between the cases that can be analytically delineated by assessing whether a religious mobilisation has an overt or a covert character. While the series of protests against the school-age reform represents a case of mobilisation with covert religious symbolism, the campaigns against sexuality education and the use of the concept of gender are characterised by overt religious populism. To characterise the dynamics of the two campaigns, the study uses the concept of a moral panic, emphasising the importance of moral entrepreneurs waging ideological war against the government and/or liberal experts conceived of as ‘folk devils’.

Reconciliation in the Cathedral: Isaac's Religion in “Owen-Mass”

10.34690/125 ◽  
2021 ◽  
pp. 6-36
Author(s):  
Роман Александрович Насонов
Keyword(s):  
Song Cycle ◽  
Human Experience ◽  
Christian Religion ◽  
Religious Symbolism ◽  
The World ◽  
The Face ◽  
War Requiem ◽  
The Military ◽  
The Church ◽  
Church Tradition

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.

Sign in / Sign up

Export Citation Format

Share Document