scholarly journals KEINDAHAN SEBAGAI ELEMEN SPIRITUAL PERSPEKTIF ISLAM TRADISIONAL

2015 ◽  
Vol 5 (2) ◽  
Author(s):  
Andi Herawati
Keyword(s):  
Spiritual Journey ◽  
True Self ◽  
False Self ◽  
Human Need ◽  
The Creation ◽  
Traditional Islam ◽  
The Way

Beauty for most part eventually seen as the science of form, more than that is of the essential part of human living and the way we look at it by the time become more discern as it invites the philosophical vibration. It becomes a consiousness through the questions about the creation of the cosmos and meditation upon the Almighty. Whether aware or not, human need beauty through out their living, at the same time is a spiritual journey. Beauty in Traditional Islam is also able to ascending human, create the the awareness of plurality, and at the last it aso to born out the sense of the Sacred manifested thorugh the form of art, culture, calligraphy, and the whole cosmos. At last, beauty has its role in spiritual journey through self emptiness, from the false self to the true self.

Chaos

2016 ◽  
pp. 153-156
Author(s):  
Donald W. Winnicott
Keyword(s):  
Normal Function ◽  
The Self ◽  
True Self ◽  
External Reality ◽  
False Self ◽  
The Creation

In this chapter, Winnicott explores the concept of chaos, with reference to the internal world, preferring to think of it as un-integration. The defensive states that may follow may also be protected by enabling sufficient capacity for illusion in the growing self, but, if this is not the case, splitting within the self—a normal function—can become excessive. This leads to the disruption of the true self with its capacity for spontaneity and the creation of a false self with overcompliance to external reality. The states of disintegration, dissociation, and repression are defined.

scholarly journals La conversio de Agustín en las Confesiones traducida por Petrarca como una imitatio humanista // Augustine's conversio in the Confessions translated by Petrarch as a humanist imitatio

2014 ◽  
Vol 5 (1) ◽  
pp. 11-32
Author(s):  
Francisco Páez de la Cadena Tortosa
Keyword(s):  
Spiritual Journey ◽  
Medieval Period ◽  
Francesco Petrarca ◽  
True Nature ◽  
The Creation ◽  
Literary Model ◽  
The Way ◽  
New Look

El 26 de abril de 1336, Francesco Petrarca emprendió la ascensión al monte Ventoux. Lo cuenta en una carta dirigida a Dionigi da Borgo, en la que el momento culminante es la lectura de algunas frases de las Confesiones de Agustín de Hipona en la cumbre del monte. El texto está recogido en los Familiarum rerum libri, y se ha tenido muchas veces por el comienzo de una nueva mirada sobre el paisaje que cierra el periodo medieval y culmina con la eclosión del Renacimiento.Este relato de su experiencia montañera ha originado análisis contradictorios sobre la verdadera naturaleza de sus sentimientos religiosos o acerca de la propia veracidad de la carta. En este artículo se plantea que cabe interpretarla de una manera nueva en términos acordes con el propio texto. En primer lugar, por la elección que Petrarca hace de los textos que cita (Virgilio, Ovidio, Pablo de Tarso) y cómo los interpreta. En segundo lugar, porque el relato de su experiencia no puede tomarse como un calco fidelísimo de la de Agustín. Finalmente, porque la carta reelabora literariamente el proceso seguido por el poeta, adaptándola muy precisamente a los objetivos confesionales que persigue.Se verá cómo la experiencia petrarquesca puede entenderse como triple traducción libérrima de la narrada por Agustín: en el uso de un modelo literario y filosófico previo trasladado a una situación personal; en la emulación del recorrido espiritual del modelo pero reinterpretando etapas y consecuencias del proceso; y en la creación de un texto fenomenológico que puede concebirse como una apropiación empírica de la naturaleza con el trasfondo de esa subjetividad ajena. El resultado es una imitatio humanista, una auténtica traslación, una traducción de significado y espíritu de la experiencia originaria, traicionándola al reconvertirla así en otra nueva digna de ser contada de un modo distinto.   Abstract   On April 26, 1336, Petrarch climbed Mount Ventoux. The account of his ascent is written in a letter adressed to Dionigi da Borgo, whose highlight is the reading of a passage from Augustine of Hippo's Confessions on the summit of the mountain. The letter is included in the collection Familiarum rerum libri, and has often been considered as the beginning of a new look onto the landscape that puts an end to the medieval period and culminates with the emergence of the Renaissance. This account has created contradictory analyses on the true nature of Petrarch's religious feelings or about the truthfulness of the letter. This article argues that this should be interpreted in a new way in terms consistent with its own text. Firstly, Petrarch chooses carefully the texts he cites (Virgil, Ovid, Paul of Tarsus) and the way he deals with them. Secondly, the story of his experience cannot be taken as a most faithful replica of Augustine's. Finally, this letter reworks in a most original way the process experienced by the poet, very precisely adapting its form and its contents to his confessional objectives pursued. Petrarch's experience can be understood as a triple translation of Augustine's Confessions: in the use of its literary model transferred to a most personal situation; in the emulation of the spiritual journey of his model although reinterpreting its stages and consequences; and in the creation of a phenomenological text that can be understood as an empirical appropriation of nature against the backdrop of Augustine's. The result is a humanist imitatio, a true translation of meaning and spirit of Petrarch's original experience, but betrayed when written as a new narration based upon Augustine's. 

Attention Sustainability Impact on Social Status in the Class

2020 ◽  
Vol 8 (1) ◽  
pp. 37-46
Author(s):  
Stanislava Varadinova
Keyword(s):  
Social Status ◽  
Communication Skills ◽  
School Dropout ◽  
Learning Material ◽  
Early School ◽  
The Social ◽  
The Creation ◽  
The Individual ◽  
The Way ◽  
Positive Environment

The attention sustainability and its impact of social status in the class are current issues concerning the field of education are the reasons for delay in assimilating the learning material and early school dropout. Behind both of those problems stand psychological causes such as low attention sustainability, poor communication skills and lack of positive environment. The presented article aims to prove that sustainability of attention directly influences the social status of students in the class, and hence their overall development and the way they feel in the group. Making efforts to increase students’ attention sustainability could lead to an increase in the social status of the student and hence the creation of a favorable and positive environment for the overall development of the individual.

Merle’s travel: A Quest For Completeness In Paule Marshall’s The chosen place, the timeless people.

2019 ◽  
Vol 5 (4) ◽  
pp. 36-42
Author(s):  
Dr. K. Radah ◽  
G. Gayathri
Keyword(s):  
African American ◽  
Social Context ◽  
African American Women ◽  
African American Woman ◽  
American Woman ◽  
Community Level ◽  
Dominant Culture ◽  
True Self ◽  
American Women ◽  
Human Need

African American women have been silenced and kept ignorant by the dominant culture and it is the human need to create and maintain a true self in a social context. However, such an endeavor becomes an ordeal for those who are doubly oppressed, for those who are muted and mutilated physically and psychically through the diabolic crossfire of caste/race, sex and colonialism. This paper focuses on, an African American Woman, throughout her journey of life, seeking completeness in terms of family, society and community level.

Systematicity and Normative Justification

2017 ◽  
Author(s):  
Kevin Thompson
Keyword(s):  
Political Philosophy ◽  
Unique Form ◽  
The Core ◽  
The Creation ◽  
Normative Justification ◽  
The Way

This chapter examines systematicity as a form of normative justification. Thompson’s contention is that the Hegelian commitment to fundamental presuppositionlessness and hence to methodological immanence, from which his distinctive conception of systematicity flows, is at the core of the unique form of normative justification that he employs in his political philosophy and that this is the only form of such justification that can successfully meet the skeptic’s challenge. Central to Thompson’s account is the distinction between systematicity and representation and the way in which this frames Hegel’s relationship to the traditional forms of justification and the creation of his own distinctive kind of normative argumentation.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals MODERN MIDDLE AGE IN HIGH FASHION THROUGH THE DESIGN OF ALEKSANDAR JOKSIMOVIĆ

2019 ◽  
Vol 31 (3) ◽  
pp. 777-783
Author(s):  
Dragana Frfulanović-Šomođi ◽  
Milena Savić
Keyword(s):  
Middle Age ◽  
Cultural Tradition ◽  
Clear Indication ◽  
Cultural Aspects ◽  
The Past ◽  
Historical Figures ◽  
The Social ◽  
One Step ◽  
The Creation ◽  
The Way

The design of socialist Yugoslavia received a particularly new look through the creation of Aleksandar Joksimović, which gave the new elements a traditional look, equally putting them in rank with world-famous designs of celebrated designers. This paper was created with the idea of emphasizing the importance of the creativity of Joksimović, which is within the framework of socialist norms, as an artist, remained insufficiently recognized, although his work was in the service of exclusive promotion of the cultural aspects of his country. His concept of design based on the medieval cultural tradition emerged from the framework of the then socialist clothes, and it is called grandiose exoticism. The names of the first collections given by the historical figures of medieval Serbian history are a clear indication that it is possible to draw inspiration from the past, if it is professionally approached and adequately, by contemporary trends, the audience and the market. Joksimovic's individualism, apart from design, was also reflected in the way the collection itself was modeled through models and choreographies, and clearly once again showed his step ahead of time, while the social and political circumstances forced him to stay one step behind.

scholarly journals “AYAS”: From Aerospace Club to Aerospace Society

2020 ◽  
pp. 90-102
Author(s):  
Avetik E. Grigoryan
Keyword(s):  
Educational Activity ◽  
Study Group ◽  
School Students ◽  
History Of ◽  
The Creation ◽  
The Way

The history of educational activity and linking the education with research in the aerospace-related areas in Armenia is presented – all the way from the creation of an extra-curricular study group for school students dubbed the "AYAS" Aerospace Club to the foundation of the "AYAS" Aerospace Society.

Sign in / Sign up

Export Citation Format

Share Document