Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

scholarly journals Myth Actualization as a Way to Build the Self-Reflective Plot of the Film “Ilyich’s Gate”

2019 ◽  
Vol 16 (6) ◽  
pp. 595-605
Author(s):  
Aleksey O. Bezzubikov
Keyword(s):  
Historical Development ◽  
The Self ◽  
Time And Space ◽  
Self Reflection ◽  
The Third ◽  
Cultural Codes ◽  
Fourth Part ◽  
The World ◽  
The Moment

The article provides the analysis of mytho­logical dimension of the film “Ilych’s Gate” (Zastava Ilycha) by M.M. Khutsiev. The author concludes that the text of this film represents self-reflexive structure. Firstly, the plot of the film quite clearly depicts the mythological perception of reality. Secondly, the course of narration reproduces the influence of mytho­logical codes on the perception of the audience. The text of the film contains a description of its own mechanism of influence on the viewer as well as the processes taking place in the minds of the audience at the moment of viewing.The first part informs of the main principles of mytho­logical thinking and the idea of time and space in the myth, referring to the works by C. Lévi-Strauss, R. Barthes, M. Eliade, A. Losev, E. Cassirer and others. Special attention is paid to the role of myth and initiation ritual in the psychological formation of a personality, as, based on the following, this is the theme that forms the basis of the film plot.The second part deals with the methods by which the mythological dimension is manifested in the text of the film.In the third part, the researcher shows how the contrast of secular and sacral becomes the main semantic opposition promoting the motion of the plot.In the fourth part, the author proves that the reflection of reality in the characters’ minds is a referent of the images shown on the screen. The characters’ development lies in the actualization of the sacral and mythological perception of the world. In turn, the cultural codes contained in the text of the film are designed to evoke a kind of response in the minds of the audience — to actualize the same sacred modus of perception in its ideas, the achievement of which is the ultimate goal of the characters. Thus, the inner path of the characters in the film reflects the processes that excite the studied film in the perception of the audience.The relevance of the article lies in the discovery and description of the principle of self-reflection in the structure of the film “Ilych’s Gate”, which allows us to understand at a qualitatively new level its structure and place in the historical development of Russian cinematography.

The Third Law in Newton's Mechanics

1968 ◽  
Vol 4 (1) ◽  
pp. 39-51 ◽  
Author(s):  
Roderick W. Home
Keyword(s):  
Operational Definition ◽  
Historical Aspects ◽  
The Third ◽  
The World ◽  
The Status ◽  
The Subject ◽  
Third Law ◽  
Newton’S Laws ◽  
Philosophical Viewpoint ◽  
Definition Of

Most modern analysts of Newton's laws of motion, whether they have approached the subject from a historical or from a philosophical viewpoint, have tended to concentrate on the status of the first two laws; the third law has largely been overlooked, or else it has been dismissed as somehow less interesting. My purpose in this paper is to reverse this approach—I intend to investigate some of the historical aspects of the third law, particularly the empirical background to Newton's statement of it, and in so doing, I intend to skirt most of the questions which have been raised concerning the status of the other two laws. In concentrating on the historical aspects of the third law, I shall also by-pass Mach's controversial re-interpretation of its role in mechanics, for while Mach saw the law as the basis for an operational definition of “mass”, it is quite clear that Newton did not so regard it. On the contrary, Newton seems to have regarded all three of his laws as straightforward statements of fact about the world, so that a knowledge of the factual background to the laws is a fundamental pre-requisite to an understanding of Newton's thought.

scholarly journals El problema de la donación en la reflexión de Patočka

2021 ◽  
pp. 19
Author(s):  
Marco Barcaro
Keyword(s):  
The Self ◽  
The Third ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Phenomenal Field ◽  
Pure Immanence ◽  
The Way

Esta contribución presenta como el concepto filosófico de “donación” es reinterpretado en la reflexión de Patočka. Partiendo de la lección husserliana, gracias a la cual las cosas son dadas en la pura inmanencia de la consciencia, él critica esta orientación “subjetivista” porque no desarrolla adecuadamente el tema del aparecer en el campo fenomenal. La segunda sección analiza tres desplazamientos metódicos que abarcan: el rol del sujeto, su relación con la trascendencia, el darse a sí mismo del mundo en su totalidad. La tercera sección compara la reflexión de Patočka con dos referencias cruzadas a algunos intentos similares en la historia de la fenomenología. El tema de “la donación”, por tanto, nos traslada al mayor problema con el que ha trabajado siempre la filosofía: la manifestación del mundo. Patočka intentó esclarecer este problema mediante dos metáforas (el espejo y la pintura), pero también subrayó cómo concierne el modo en el que el hombreinterpreta la propia existencia.This paper presents how the philosophical key concept of givenness is reinter-preted in Patočka's reflection. Starting from the Husserlian idea, according to which things are given in the pure immanence of consciousness, Patočka criticized this "subjectivist" orientation because it doesn’t adequately develop the appearing in the phenomenal field. The second section analyzes three main methodical shifts concerning: the nature and the role of the subject, its relationship with the transcendence, the self-giving of the world as a whole. The third section compares Patočka's reflection and two cross-references to similar undertaking in the history of phenomenology. The theme of givenness brings us back in the end to the biggest problem within which philosophy has always worked: world manifestation. Patočka tried to clarify this issue through two metaphors (the mirror and the painting), but he also highlighted as it concerns the way in which man interprets his existence. 

Journalistic objectivity and The Daily Show with Jon Stewart

2021 ◽  
Author(s):  
Ryan Harris Parker
Keyword(s):  
National Identities ◽  
Close Inspection ◽  
Fourth Section ◽  
The Daily Show ◽  
Daily Show ◽  
The Third ◽  
Holistic Understanding ◽  
The Press ◽  
The World ◽  
Definition Of

The press is a constitutive part of our society. It helps create national identities and formulates society's understanding of itself and its place in the world. Moreover, a free press is indispensable for ensuring the vibrancy of a democracy. For these reasons, a close inspection of news, and an evaluation of its performance, is crucial. We must look to the development of the mass press at the turn of the twentieth century to locate the beginnings of journalistic objectivity and the type of news we are familiar with today. The first section of this paper offers a review of accounts of this transformational period, placing opposing theories within the larger framework of the frictions between cultural studies and political economy, and underscores the need for a holistic understanding of the period. The second section chronicles the press's articulation of its new professional tenets, offers a definition of journalistic objectivity, and reveals its intrinsic limitations. The third section details how the modern press's ideal democratic mandate has been compromised, with the influence of the press being used instead to ensconce powerful interests. And the fourth section outlines the calls for a redefinition of journalism in light of the failures covered in the preceding section. Finally, The Daily Show with Jon Stewart is offered as an alternative journalistic form that transcends the dangerous dogma of traditional news outlets, allowing it to fulfill the democratic responsibility of the press by encouraging a critical and astute citizenry.

scholarly journals Affective Pre-Givenness and Accumulation of Oneself

2021 ◽  
pp. 45-49
Author(s):  
Anatolii S. Sharov
Keyword(s):  
Effective Communication ◽  
The Self ◽  
Genetic Phenomenology ◽  
Passive Synthesis ◽  
The World ◽  
The Subject

Based on the analysis of the previously unpublished heritage of Eh. Husserl, the so-called “Bernau-manuscripts” in the horizon of genetic phenomenology, a holistic consideration of subjectivity from the affectively pre-given to the Self as a collection of the self is outlined. Passive synthesis and passive genesis are analysed at the level of sensuality, which refers to the pre-predicative experience of affеction and genetically precedes the thematic correlation between the subject and the world. The accumulation of one’s own Self takes place in onto-reflexive processes through effective communication. Where the Self itself is the identical center, the pole with which the entire content of the stream of experiences is correlated.

scholarly journals God’s Love in the Teaching of Cardinal Stefan Wyszyński

2021 ◽  
Vol 14 (2) ◽  
pp. 29-47
Author(s):  
Sylwester Jaśkiewicz
Keyword(s):  
Holy Spirit ◽  
Inner Life ◽  
Son Of God ◽  
The Third ◽  
God's Love ◽  
Triune God ◽  
The Holy Spirit ◽  
The Subject ◽  
Definition Of ◽  
Theological Thought

The article presents the subject of God’s love in Cardinal Wyszyński’s teaching. Primate Wyszyński puts God’s love at the very center of his theological thought. The theme of God’s love is discussed in seven sections: the first of them refers to the most famous words of Saint John’s “Deus Caritas est” (1 Jn 4:8,16), which are a short and brief definition of God; the second section develops Cardinal Wyszyński’s statement that there was a “time” in which only Love existed; the third section concerns the impartation of God’s love; fourth section describes the love of the Father; fifth section speaks of the greatest Love, which is the Incarnate Son of God, Jesus Christ; section six focuses on the Holy Spirit, who is the Spirit of Love; the last section speaks of Mary, Mother of Beautiful Love. The whole ends with the summary. In his teachings on the love of God, Cardinal Wyszyński started with the inner life of the Triune God, with the Person of the Father, and then focuses on the salvific mission of the Son of God and the sanctifying action of the Holy Spirit. In this way, he appreciates both the category of God the Father and God as a Father full of love.

scholarly journals ‘THE RULE OF THREE’ IN THE GROWTH STORIES – GANGBAIK LEE’S DRAMA “LIKE LOOKING AT THE FLOWER IN THE MIDWINTER”

2016 ◽  
Vol 1 ◽  
pp. 11-22
Author(s):  
Mansu KIM
Keyword(s):  
Fairy Tale ◽  
The Self ◽  
The Real ◽  
Final Destination ◽  
The Third ◽  
The Core ◽  
Rule Of Three ◽  
The Poor ◽  
The World

This paper focused on the structure of the growth stories, especially in surveying Gangbaek Lee’s (이강백) drama “Like Looking at the Flower in the Mid-winter (동지섣달 꽃 본 듯이)”. It is structured by ‘rule of the three’. In this text, three sons go to seek their mother, they experience the tests three times. Third son wins the game because he succeeds to find his true and alternative mother. It is similar to the story of English fairy tale “Three Little Pigs”.  In Freudian terms, the characters of the both texts are superego, ego and id. The core of the growth story is that third son (id) wins the first son (superego) and the second son (ego) by using his own energy (meaningful labor). In Levi Strauss’ terms, the contrast between the third and the others can be schemed the contrast between culture and nature. Lee’s drama presents the third son as the real hero who overcomes two elder brothers. The first is so conservative (oversleep), the second is so selfish (overeat). Two brothers were too political or too ideal to become a true, humanistic and warm-minded adult. In his view, ‘drama’ related to the third son is the most humanistic and warm-minded action in the world. These both stories are based on the plot ‘rags to riches’ which contains the success of the poor and powerless. In other words, the poor and weak child can grow to the true hero, and reach the final destination, according to the Gustav Jung’s expression, ‘the Self as a Whole’.

James and Hume

2018 ◽  
Author(s):  
Yumiko Inukai
Keyword(s):  
Critical Point ◽  
The Self ◽  
Ordinary Sense ◽  
Discrete Elements ◽  
Temporal Continuity ◽  
The World ◽  
Subject And Object ◽  
Pure Experience ◽  
The Subject

James contends that the rejection of conjunctive relations in experience leads Hume to the empirically groundless notion of discrete elements of experience, which James takes as the critical point that differentiates his empiricism from Hume’s. In this chapter, I argue that James is not right about this: Hume not only allows but employs experienced conjunctive relations in his explanations for the generation of our naturally held beliefs about the self and the world. There are indeed striking similarities between their accounts: they both use the relations of resemblance, temporal continuity, constancy, coherence, and regularity, and the self. Also, objects are constructed out of basic elements in their systems—pure experience and perceptions, respectively. Although collapsing the inner and outer worlds of the subject and object into one world (of pure experience for James and of perceptions for Hume) may seem unintuitive, this is exactly what allows them to preserve our ordinary sense of our experiences of objects.

UPOREDNI PRIKAZ HRVATSKOG I SLOVENAČKOG PRAVA GRAĐENjA

Glasnik prava ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 35-51
Author(s):  
Edina Kočan
Keyword(s):  
Property Rights ◽  
Legal Systems ◽  
Legal Analysis ◽  
The Third ◽  
Conceptual Definition ◽  
The Subject ◽  
The Republic ◽  
Construction Law ◽  
Definition Of ◽  
The Right

The author presents a comparative legal analysis of the segments of construction law in Croatian and Slovenian law, with the aim of pointing out the differences that exist between them. Considering that this is a relatively new legal institute, which was somewhat earlier standardized in Slovenian law in relation to Croatian law, in the introductory exposition, a brief review was made of the occurrence of the construction law and the reasons for earlier non-regulation. The second part of the paper is dedicated to the stipulations of Act on ownership and Property Code of the Republic of Slovenia. This part refers to the conceptual definition of the construction law, in order to classify it in a certain broader unit, to which it belongs - genus proximum - searching for the closest relative, emphasizing the important characteristics that make it specific in relation to other property rights. In the third part of the paper, the author analyses the stipulations related to the subject of building rights, with reference to the dilemmas that exist in that sense, both in Croatian and Slovenian jurisprudence, as well as in the legal science of some other countries. The fourth part of the paper is dedicated to the stipulations that regulate the acquisition and duration of construction rights. Considering that derivative acquisition, among other things, characterizes the existence of bases and ways of acquisition, first possible bases of acquisition are presented, and then entry in appropriate public books as a way of acquiring this right and its duration. The concluding part of the paper summarizes the results of the analysis and evaluates the considered legal solutions, with the presentation of reasoned objections to the existing regulations, all with the aim of eventual amendment of the right to build in the legal systems in question.

Traditional and Modern Art

2017 ◽  
pp. 52-72
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Modern Art ◽  
Human Capabilities ◽  
The World ◽  
The Subject ◽  
Comprehensive Manner ◽  
Textual Traditions ◽  
Classical Greek Philosophy ◽  
Definition Of

In visual arts both the subject matter and the techniques form traditions extending sometimes through millennia, recording the human evolution and humanity in far more direct ways than, for instance, textual traditions can ever do. In short, visual arts open a rare window to the essence of humanity itself. Visual art is testing in a comprehensive manner the human capabilities to experience the world. Modern art has further opened up the whole definition of visual arts and freed even greater number of possibilities. Anything can be presented as visual art, if the audience is ready to accept it as art and “sees” it as art. I also discuss the basis of art as we inderstand it. Life imitates art and art imitates life. Which one is the copy then? The concept of mimêsis is one of the most frequently misunderstood concepts of classical Greek philosophy. In spite of breaks in tradition and misunderstandings, what is most important, is that in European art traditions the idea of liberal art as a means of expressing and shaping in a creative way ideas has kept alive and strives.

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