scholarly journals Immanuel Kant and Herman Cohen’s philosophy of religion

2021 ◽  
Vol 37 (1) ◽  
pp. 30-40
Author(s):  
Vladimir N. Belov ◽  
◽  
Aleksandra Yu. Berdnikova ◽  
Yulia G. Karagod ◽  
◽  
...  
Keyword(s):  
Immanuel Kant ◽  
Old Testament ◽  
Philosophy Of Religion ◽  
Point Of View ◽  
Practical Philosophy ◽  
Jewish Tradition ◽  
Baruch Spinoza ◽  
Moses Mendelssohn ◽  
The New Testament ◽  
Characteristic Features

The article analyzes the main characteristic features of the philosophy of religion of the founder of the Marburg school of neo-Kantianism Hermann Cohen. Special attention is paid to Cohen’s criticism and reinterpretation of Kant’s “practical philosophy” from the point of view of the philosophy of religion: Cohen supplements and expands Kant’s provisions on moral law and moral duty, interpreting them as divine commandments. The authors emphasize the fundamental importance for Cohen of the “internal similarity” between Kant’s ethical teaching and the main provisions of Judaism. The sources of Kant’s own ideas about the Jewish tradition are shown, which include the work of Moses Mendelssohn “Jerusalem” and the “Theologicalpolitical treatise” by Baruch Spinoza. Cohen’s criticism of these works is analyzed an much attention is paid to the consideration of Cohen’s attitude to Spinoza’s philosophical legacy in general. The interpretation of the postulates of Judaism by Cohen (and their “inner kinship” with Kant’s moral philosophy) in ethical, logical, and political contexts is presented. Cohen’s understanding of such religious-philosophical and doctrinal phenomena as law, grace, Revelation, teaching, the Torah, messianism, freedom, the Old Testament and the New Testament, etc. is provided and analyzed. The main points of Cohen’s religious teaching as “ethical monotheism” are considered; in particular, the authors analyze his understanding of the idea of God as “the only one”, which is highlighted in the works of Paul Natorp. It is concluded that Cohen’s philosophy of religion, which is based on the postulates of Judaism as well as Kant’s “practical philosophy”, could be characterized by the terms “ethical monotheism”, “universalism” and “humanism”.

scholarly journals Biblical principles as an answer to the African people�s questioning of witchcraft

2012 ◽  
Vol 33 (1) ◽  
Author(s):  
David K. Semenya ◽  
Rantoa Letsosa
Keyword(s):  
Old Testament ◽  
Theoretical Perspective ◽  
Point Of View ◽  
Limpopo Province ◽  
African Culture ◽  
Satellite Television ◽  
The Bible ◽  
The New Testament ◽  
The Media ◽  
Biblical Principles

Witchcraft is still an enormous and serious issue in African culture. The media, including the entertainment component (e.g. African Magic programmes on satellite television), portray witchcraft as an issue that needs to be addressed. Witchcraft has in a sense been integrated into the system and context of the Nigerian community because most of the programming originates from this country. The same can be said of the South African milieu. It would be remarkable to read a tabloid such as the Daily Sun without at least one reference to witchcraft. Between 1994 and 1996 several hundred people were killed in the Limpopo Province on suspicion of witchcraft, to which the response from the Christian sector was diverse and varied. De Vries (2010:35) argues that Christians believe that upon becoming a member of this faith, witchcraft is powerless; yet there are indeed Christians who consider bewitchment possible, despite a belief in God. This being the case, the question that arises is, �What does the Bible teach in this regard�? The most compelling evidence for the existence of witchcraft is its mention in both the Old Testament (OT) and the New Testament (NT). Although all Christians read the same Bible, the interpretation of its teachings on witchcraft differ greatly. This article has attempted to identify, from a historical-grammatical exegetical point of view, a number of biblical principles on witchcraft that could be set as guidelines for addressing witchcraft-related matters and to obtain a clearer picture on Scripture�s teachings regarding witchcraft. (This topic has also been explored from a meta-theoretical perspective in a follow-up article.)

The Growth of New Testament Theology

1953 ◽  
Vol 6 (3) ◽  
pp. 275-286
Author(s):  
A. J. B. Higgins
Keyword(s):  
New Testament ◽  
Old Testament ◽  
Point Of View ◽  
The Other ◽  
Divine Revelation ◽  
Religious Development ◽  
The New Testament ◽  
Essential Unity

The Old Testament is, from one point of view, primarily the X record of the growth of religious ideas among the Hebrews. Yet, despite the variety of the religious ideas of the Old Testament at different stages in Hebrew history, it is possible to speak of the theology of the Old Testament without the word ‘theology’ being just another name for religious development. This is because there are certain beliefs about God and man and their relationship one to the other as saviour and saved which characterise the Old Testament as a finished and complete whole, as an entity. From another point of view the Old Testament is the record of the divine revelation in salvation vouchsafed to Israel by her God. If God speaks now through Moses, now through Isaiah of Jerusalem, now through the nameless exilic prophet, at different times ‘by divers portions and in divers manners’, yet His revelation is basically ever the same. The essential unity of outlook and faith in the Old Testament, transcending its diversities, is a pointer to the genuineness of the revelation and a guarantee of its substantially correct though inevitably imperfect apprehension by those to whom it was granted.The differences within the Old Testament are, nevertheless, often more obvious than this basic theological unity. The opposite might be said of the New Testament. This is just what we should expect, because while the Old Testament spans many centuries, the New was completed within a matter of decades.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

La transposition profane de l’Exode dans Moïse fiction de Gilles Rozier

2013 ◽  
pp. 174-183
Author(s):  
Piotr Sadkowski
Keyword(s):  
Present Article ◽  
Old Testament ◽  
The Other ◽  
Jewish Tradition ◽  
Human Being ◽  
The Novel ◽  
Jewish Origin ◽  
French Writer ◽  
The World ◽  
Jewish Writers

Throughout the centuries French and Francophone writers were relatively rarely inspired by the figure of Moses and the story of Exodus. However, since the second half of 20th c. the interest of the writers in this Old Testament story has been on the rise: by rewriting it they examine the question of identity dilemmas of contemporary men. One of the examples of this trend is Moïse Fiction, the 2001 novel by the French writer of Jewish origin, Gilles Rozier, analysed in the present article. The hypertextual techniques, which result in the proximisation of the figure of Moses to the reality of the contemporary reader, constitute literary profanation, but at the same time help place Rozier’s text in the Jewish tradition, in the spirit of talmudism understood as an exchange of views, commentaries, versions and additions related to the Torah. It is how the novel, a new “midrash”, avoids the simple antinomy of the concepts of the sacred and the profane. Rozier’s Moses, conscious of his complex identity, is simultaneously a Jew and an Egyptian, and faces, like many contemporary Jewish writers, language dilemmas, which constitute one of the major motifs analysed in the present article. Another key question is the ethics of the prophetism of the novelistic Moses, who seems to speak for contemporary people, doomed to in the world perceived as chaos unsupervised by an absolute being. Rozier’s agnostic Moses is a prophet not of God (who does not appear in the novel), but of humanism understood as the confrontation of a human being with the absurdity of his or her own finiteness, which produces compassion for the other, with whom the fate of a mortal is shared.

Orr and Kant: An analysis of the intellectual encounter behind ‘The Christian worldview’

2021 ◽  
Vol 74 (2) ◽  
pp. 103-122
Author(s):  
Michelle C. Sanchez
Keyword(s):  
Immanuel Kant ◽  
Cultural Difference ◽  
Culture War ◽  
Christian Worldview ◽  
The Usa ◽  
Characteristic Features ◽  
Aesthetic Expression

AbstractToday, Christianity is often described as a ‘worldview’, especially among Reformed evangelicals in the USA. In this article I return to the 1890 lectures where Scottish theologian James Orr adapted the concept of Weltanschauung for Christian purposes. Although it was coined by Immanuel Kant in 1790, and primarily used in subsequent decades to theorise cultural difference and evaluate aesthetic expression, Orr nevertheless claims that the idea of a worldview is ‘as old as the dawn of reflection’ and thus appropriate to articulating Christianity. I examine Orr's engagement with the Kantian and emerging historicist context, paying particular attention to his epistemological and aesthetic citations and showing how Orr both adopts and departs from the characteristic features of the Kantian subject. I conclude by assessing the philosophical and theological costs of this project that, among other things, positions Christianity for perpetual culture war within secular societies similarly shaped by the post-Kantian subject.

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