scholarly journals Śāntarakṣita and Kamalaśīla: Life and Teaching

2020 ◽  
Vol 24 (4) ◽  
pp. 570-589
Author(s):  
Lev I. Titlin
Keyword(s):  
Full Length ◽  
Special Contribution ◽  
Tibetan Translation ◽  
History Of ◽  
Direct Student

The article details the biography and teachings of Śāntarakṣita (8th century), a famous Buddhist scholar and enlightener, a leading figure in the spread of Buddhism in Tibet and his closest student Kamalaśīla (also 8th century). Śāntarakṣita is the author of several treatises, including Compendium of Entities - Tattvasaṃgraha, a monumental work that can rightfully be called the Buddhist Philosophical Encyclopedia, consisting of 26 sections (the Tibetan translation contains 31 sections), in which all key philosophical schools of India, namely: Mīmāṃsa, Vedānta, Sāṃkhya, Yoga, Nyāya, Vaiśeṣika, Lokāyata, Jainism and Buddhism of other sects) are analyzed and subsequently refuted. Kamalaśīla is a direct student of Śāntarakṣita, the author of a word-to-word commentary on the teacher's Tattvasaṃgraha. The article also dwells on the history of the discovery and study of the Tattvasaṃgraha. The novelty of the study lies in a full-length encyclopedic presentation of the philosophy of Śāntarakṣita and his immediate student Kamalaśīla. A special contribution of the author to the study of the topic is the demonstration that Śāntarakṣita, as a representative of the Yogācāra-Madhyamaka school, worked in the genre of synthesis of the teachings of Yogācāra (Vijānavāda) and Madhyamaka (Śūnyavāda), and in the field of epistemology he continued the theories of Dignāga and Dharmakīrti.

The Earl, the Kings, and the Chronicler

2019 ◽  
Author(s):  
Robert B. Patterson
Keyword(s):  
Civil War ◽  
Twelfth Century ◽  
Full Length ◽  
English History ◽  
Cultural Revival ◽  
South Wales ◽  
Anglo Norman ◽  
Merchant Class ◽  
History Of ◽  
William The Conqueror

This book is the first full length biography of Robert (c.1088 × 90–1147), grandson of William the Conqueror and eldest son of King Henry I of England (1100–35). He could not succeed his father because he was a bastard. Instead, as the earl of Gloucester, Robert helped change the course of English history by keeping alive the prospects for an Angevin succession through his leadership of its supporters in the civil war known as the Anarchy against his father’s successor, King Stephen (1135–54). The earl is one of the great figures of Anglo-Norman History (1066–1154). He was one of only three landed super-magnates of his day, a model post-Conquest great baron, Marcher lord, borough developer, and patron of the rising merchant class. His trans-Channel barony stretched from western Lower Normandy across England to South Wales. He was both product as well as agent of the contemporary cultural revival known as the Renaissance of the Twelfth Century, bilingual, well educated, and a significant literary patron. In this last role, he is especially notable for commissioning the greatest English historian since Bede, William of Malmesbury, to produce a history of their times which justified the Empress Matilda’s claim to the English throne and Earl Robert’s support of it.

Tracing the origin and history of HIV-1 subtype B′ epidemic by near full-length genome analyses

AIDS ◽  
2012 ◽  
Vol 26 (7) ◽  
pp. 877-884 ◽  
Author(s):  
Zhe Li ◽  
Xiang He ◽  
Zhe Wang ◽  
Hui Xing ◽  
Fan Li ◽  
...  
Keyword(s):  
Full Length ◽  
Subtype B ◽  
History Of ◽  
Genome Analyses ◽  
Full Length Genome ◽  
Hiv 1

The Altar Partition of the Okhtyrka Assumption Cathedral of 1738: The Stylistic Decision and Iconographic Program

2020 ◽  
Vol 2020 (3) ◽  
pp. 94-98
Author(s):  
V. Shulika ◽  
Keyword(s):  
18Th Century ◽  
Full Length ◽  
Large Format ◽  
Sacred Art ◽  
New Era ◽  
Western Ukraine ◽  
History Of ◽  
Internal Influences ◽  
Half Length

The article is dedicated to the iconostasis of the Assumption Cathedral in Okhtyrka (1738). The iconostasis was installed at the expense of O. Lesevytsky (a colonel of Okhtyrka regiment and a brigadier of Sloboda regiments). The icons were painted by Kharkiv icon painter V. Dmitriev. While painting he was working in Kiev‑Pechersk Laura. The iconostasis of the Assumption Cathedral became an example of an innovative decision of altar partitions not only in Slobozhanshchyna, but also in the whole of Ukraine. The altar partitions reflected the stylistic innovations relevant for the first half of the 18th century – a combination of Rococo and Classicism. The iconostasis of 1738 demonstrates that the spread of these styles in Slobozhanshchyna took place much earlier than in Central and Western Ukraine, and the sacred art of Slobozhanshchyna regiments had its own path of development. The iconostasis of the Assumption Cathedral became the first altar partition, which broke with traditional for Ukraine and, in particular, for Slobozhanshchyna, stylistic and iconographic decisions of altar partitions. It can be considered the first altar partition, which opens a new era in the history of Ukrainian iconostasis. A new solution for iconostasis in Slobozhanshchyna was the introduction of the metric type in the construction of tiers (the rhythmic type was traditionally used before that), the elimination of the Deisus tier, which was replaced by a large-format Holiday tier. The iconostasis also shows internal influences. Thus, the Sovereign tier of the iconostasis presented images of Christ, the Birth‑Giver of God and saints, depicted in full length, which was widespread in Kyiv and had not previously been typical in Slobozhanshchyna (traditionally the Sovereign (bottom) tier of the iconostasis in Slobozhanshchyna consisted of half‑length images). A new solution of the Sovereign tier of the iconostasis was probably proposed by V. Dmitriev, who could transfer part of Kyiv icon-painting tradition to Slobozhanshchyna.

Creative Process II

2019 ◽  
pp. 117-136
Author(s):  
Stephen A. Crist
Keyword(s):  
Creative Process ◽  
Full Length ◽  
Time Out ◽  
Audio Recordings ◽  
History Of ◽  
Shed Light ◽  
Surprising Discovery ◽  
The Way

Among Dave Brubeck’s personal audio recordings are about two dozen takes of “Take Five,” which preceded the full-length version on Time Out and the shorter single release version. This chapter discusses first the familiar versions from July 1959, and then considers how the Quartet’s efforts at the end of June paved the way for those iconic recordings. A surprising discovery from the original session recordings of “Kathy’s Waltz” and “Strange Meadow Lark” is that both cuts were spliced from supplemental takes. The recording history of “Everybody’s Jumpin’ ” includes the unexpected fact that a portion of the tune originated in 1950, nine years before the Time Out sessions. The chapter also examines the original recordings of “Three to Get Ready” and “Blue Rondo à la Turk,” as well as two tracks that shed light on the origins of “Pick Up Sticks.”

scholarly journals William Hayes, 18 January 1913 - 7 January 1994

1996 ◽  
Vol 42 ◽  
pp. 173-189
Keyword(s):  
Biological Research ◽  
Special Contribution ◽  
The United Kingdom ◽  
Academic Activities ◽  
Hammersmith Hospital ◽  
History Of ◽  
University Of Edinburgh ◽  
Influential Book ◽  
The University ◽  
System Operating

William Hayes, physician, microbiologist and geneticist, made his own special contribution to modem genetics and molecular biology in a manner unlike those of any of his contemporaries. Bill, as he was universally known, was an unlikely candidate for such distinction. It is interesting to speculate on the events which transformed someone likely to have had a distinguished but still traditional medical career into a world renowned scientist who influenced a whole generation of microbiologists and geneticists. He did not come from a family with a history of scientific or academic activities. Nor did he study at the centres of biological research. Moreover, at the beginning of his meteoric rise to eminence, he did not have the support of the scientific elite or access to research resources. It is likely that had he been born 20 years later the originality that he brought to microbial genetics would have been lost to us. Perhaps the situation he found in India during the war and the relative freedom of the research system operating in the United Kingdom in the 1950s ideally suited the talents of Bill Hayes. He was a dedicated experimentalist with a talent for improvisation, and his major contributions were experiments that he did himself, rather than through an assistant or graduate student. He would not have described himself as a leader, although his associates willingly gave him their loyalty and support. Nor would he have thought of himself as having charisma; indeed he was unusually self-effacing. When he gave up experimental work to write his outstanding and extraordinarily influential book, The genetics of bacteria and their viruses (13), he typed the first draft himself. Administration and the power it can provoke were anathema to Bill. Nevertheless, he created, first at Hammersmith Hospital in London and then at the University of Edinburgh, research groups that were the envy of his peers in terms of their productivity and innovation.

scholarly journals A debreceni agrárfelsőoktatás első 150 éve

Gerundium ◽  
2019 ◽  
Vol 9 (4) ◽  
pp. 161-170
Author(s):  
István Komlósi
Keyword(s):  
Tertiary Education ◽  
Full Length ◽  
Tertiary Institutions ◽  
Higher Institution ◽  
History Of ◽  
History Of The University ◽  
The University ◽  
Academic Year

The first 150 years of Agricultural Tertiary Education in Debrecen. The Georgikon in Keszthely was founded in 1797 as the first one in the line of subsequent agricultural tertiary institutions and was followed by one in Magyaróvár in 1818. It was fifty years later – that is one and a half centuries ago – that the National Higher Institution of Agriculture opened its gates in Debrecen. The speech that opened the first academic year at the new agricultural higher school was delivered by the then director Péter Papi Balogh and it has been preserved for later generations. On 5 September 2018, a hundred and fifty years later, Dean István Komlósi had the honour to recall the first 150 years of agricultural tertiary education in Debrecen. His speech is published in full length by Gerundium, the journal devoted to papers on the history of the University of Debrecen.

scholarly journals Landscape in the creative work of N. M. Romadin

2016 ◽  
Author(s):  
О.Н. Филиппова
Keyword(s):  
Landscape Painting ◽  
Creative Work ◽  
Special Contribution ◽  
History Of ◽  
Inner World

Становление духовного мира художника немыслимо без любви к природе родной земли. Наиболее ярко выражена она в искусстве пейзажа. История советского пейзажа знает много прославленных имен. Картины А.А. Рылова и Н.П. Крымова, И.Э. Грабаря, К.Ф. Юона, В.В. Рождественского, С.В. Герасимова стали неотъемлемой частью нашей художественной культуры. Свой, особый вклад внес в сокровищницу советской пейзажной живописи и Николай Михайлович Ромадин (1903-1987 гг.). Циклы его пейзажей отличаются большой цельностью. Совершенство природы в соединении с трепетностью чувства художника составляет суть его искусства, не оставляющего зрителя равнодушным. Formation of an inner world of the artist is impossible without love to the nature of the native earth. It is most brightly expressed in art of a landscape. The history of the Soviet landscape knows a lot of the glorified names. Pictures A.A. Rylov and N.P. Krymov, I.E. Grabar, K.F. Yuon, V.V. Rozhdestvensky, S.V. Gerasimov became an integral part of our art culture. His special contribution was made to the treasury of Soviet landscape painting by Nikolai Mikhailovich Romadin (1903-1987). Cycles of his landscapes differ in big integrity. Perfection of the nature in connection with reverence of feeling of the artist makes an essence of his art which does not leave the viewer indifferent.

scholarly journals The metaphor of stopped time in the novel “The Tin Drum” by Günter Grass

2020 ◽  
pp. 34-40
Author(s):  
Kseniya Sergeevna Oparina
Keyword(s):  
Emotional Development ◽  
Crimes Against Humanity ◽  
The Novel ◽  
Main Character ◽  
Special Contribution ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Ethical Norms ◽  
Günter Grass

The goal of this article consist in interpretation of the major metaphor in Günter Grass’ novel “The Tin Drum”,  and coverage of its interrelation with symbolism of the image of the protagonist Oskar Matzerath. The subject of this research is the metaphor of stopped time. The time stops for Oscar with regards to physical and emotional development. Special attention is given to the fact that the protagonist of the novel, who comes into the world with adult intelligence, deliberately stops his development at the age of three. Using the indicated metaphor, the author of the novel forms the key traits of the image of the protagonists: perpetual child, demiurge, trickster. The novelty of this research and special contribution of the author consists in revelation of direct correlations between the aforementioned traits of the main character of the fundamental problems of human existence. A child who refuses to grow up, symbolizes infantilism and denial of the generally accepted socio-ethical norms. At the same time, G. Grass describes dissolution of the surrounding world and blames specific nation in the crimes against humanity, endowing Oskar Matzerath with the traits of trickster and demiurge. The acquired results can be used in textbooks on the history of foreign literature and culturology; as well as in writing term and graduation theses by students majoring in the humanities.

Production

Saw ◽  
2011 ◽  
pp. 13-18
Author(s):  
Benjamin Poole
Keyword(s):  
Marketing Strategy ◽  
Horror Films ◽  
Full Length ◽  
The Public ◽  
Production History ◽  
History Of ◽  
Pain And Suffering ◽  
The Impact ◽  
Public Imagination

This chapter traces the production history of SAW (2004). The film was initially conceived and filmed as a short by its creators, James Wan and Leigh Whannell, in order to create a 'calling card' for potential backers. However, backers were suitably impressed, and the two received enough capital to expand SAW into a full-length cinema release. It is interesting to consider how such an apparently humble text as SAW, one that propagates such abject, extreme imagery, has caught the public imagination. Like other game-changing horror successes, SAW's budget was, by Hollywood standards, very low. However, low-budget successes are familiar to horror, with fans expectant of, and even encouraged by, a film's lowly roots. The distributors of SAW were quick to capitalise on the film's genre appeal. Lionsgate released the film, and every subsequent sequel, on the weekend before Halloween. This savvy marketing strategy imbued each film with the aura of an 'event' release. The impact of SAW on the genre industry is discernible in the extreme horror films that followed on from its success, films that emphasised their gory content and focused on themes of pain and suffering.

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