scholarly journals Aspect visuel de la deification selon Denys L’areopagite

2010 ◽  
pp. 39-54 ◽  
Author(s):  
Filip Ivanovic
Keyword(s):  
Human Person ◽  
Material Objects ◽  
Mystical Union ◽  
Cloud Of Unknowing ◽  
Visual Elements ◽  
Dionysius The Areopagite ◽  
Starting Point ◽  
Apophatic Theology ◽  
The Aesthetic

One of the thinkers who intellectually consolidated deification and gave it a solid doctrinal basis, which has remained fundamentally important until today, was (Pseudo)-Dionysius the Areopagite. His entire thought was dedicated to the deification of all creation, and ultimate goal was "the cloud of unknowing", in which the soul, following the ascending path of apophatic theology, reaches mystical union with God. The ascending process starts with material objects, symbols, through which God manifests Himself to humanity. Given the reality of the human person, who is called upon to receive the revelation, the Divinity cannot be perceived without the help of mediators that, for Dionysius, were "sacred veils" beneath which the divine light is hidden. The aim of this article is to highlight the role of visual elements (material objects, symbols) as the starting point in the process of deification, and in the context of the aesthetic elements of Christianity and the Church?s doctrine of deification, which owes its foundation to the Areopagite.

scholarly journals “Some People Are Born Strange”

2016 ◽  
Vol 23 (3) ◽  
pp. 228-239
Author(s):  
Katja Frimberger
Keyword(s):  
International Students ◽  
Creative Writing ◽  
Ethical Concerns ◽  
Embodied Language ◽  
Starting Point ◽  
The Aesthetic ◽  
Body Sculpture

The article explores the role of a Brechtian theater pedagogy as “philosophical ethnography” in four investigative drama-based workshops, which took international students’ intercultural “strangeness” experiences as the starting point for aesthetic experimentation. It is argued that a Brechtian theater pedagogy allows for a productive rather than representational orientation in research, which is underpinned by a love for the aesthetic “re-entanglement” of (dis-embodied) language and ethical concerns about mimetic representational acts. To show how a Brechtian research pedagogy functioned as philosophical ethnography, the article maps the aesthetic transformation of participant Jamal’s verbatim account in the drama workshops—from (a) its emergence in a post-creative-writing discussion in Workshop 2, to (b) its enactment as a body sculpture in Workshop 3, and (c) to its translation into a rehearsal piece in Workshop 4.

scholarly journals Koncepcja artysty i konflikt pokoleniowy w "Liście do Pizonów" Horacego. Glosa do antycznej krytyki literackiej

2018 ◽  
Vol 21 (2) ◽  
pp. 117
Author(s):  
Wojciech Kopek
Keyword(s):  
Social Issues ◽  
Social Pressure ◽  
Social Position ◽  
Literary Critic ◽  
Starting Point ◽  
The Social ◽  
The Aesthetic ◽  
New Generation

This paper, taking as a starting point Horace’s “Epistle to the Pissos”, its form and structure, approaches the Horatian problem of an artist involved in the Roman social issues, dominated by such categories as pietas and dignitas, both in relationship to the poet himself and to the social position and role of the profession of an artist (dichotomy: otium – negotium). Moreover, the role of a literary critic is discussed. A literary critic, by imposing certain rules and constraints on the artist, himself is not free of the social pressure being the result of the client/patron dependence. Writing in this context becomes an art of a compromise of values, between social and legal solutions founded in Rome’s traditional ‘community of citizens’ and the aesthetic limits and needs of the new generation of creators and their audiences.

scholarly journals Literature and visual arts as a source of inspiration

2019 ◽  
Vol 16 (1) ◽  
pp. 113-121
Author(s):  
Joanna Miklaszewska
Keyword(s):  
Visual Arts ◽  
Large Scale ◽  
Human Person ◽  
Song Of Songs ◽  
Starting Point ◽  
Nature Religion ◽  
The Subject ◽  
Instrumental Works ◽  
Source Of Information

Abstract This article is a contribution to scientific research on this aspect of Krystyna Moszumańska-Nazar’s musical output which concerns the connections between her music and other arts, primarily literature and the visual arts, as well as inspirations flowing from nature, religion, philosophy, and broadly understood culture. The article applies structuralist methodology. The starting point for the analysis of the phenomena in question is the musical work itself, its title and its structure, and in the case of vocal-instrumental works - the content and message of the literary text and the person of its author. In the part of the article which deals with the biography and artistic personality of Krystyna Moszumańska-Nazar, as well as by quoting the composer’s own statements in the text, I draw on the personalistic method, especially highly valued in 20th-century philosophy; this method emphasises the role of the human person and personality in analytic work. In the musicological literature to date there exists no separate, large-scale study dedicated to the subject of non-musical inspirations in the works of Krystyna Moszumańska-Nazar. This topic has been tackled, however, in scientific dissertations dealing with various aspects of the composer’s work. For example, inspirations from the sphere of the sacrum have been indicated by Marek Stefański (2011), whereas Ewa Mizerska-Golonek (1992) writes about inspirations derived from the Biblical text in Krystyna Moszumańska-Nazar’s Song of Songs, and Hanna Kostrzewska (2012) discusses painting as a source of inspiration in the composer’s oeuvre. The main source of information on this subject, however, are the composer’s own statements: her ‘Autorefleksja kompozytorska’ [‘The Composer’s Self-Commentary’]K. Moszumańska-Nazar, ‘Autorefleksja kompozytorska’ [‘The Composer’s Self-Commentary’], in K. Kasperek, Krystyna Moszumańska-Nazar. Katalog tematyczny utworów, Cracow, Academy of Music, 2004, pp. 149–153. and interviews.M. Woźna-Stankiewicz, Lwowskie geny osobowości twórczej. Rozmowy z Krystyną Moszumańską-Nazar [The Lviv Gene of Artistic Personality: Interviews with Krystyna Moszumańska-Nazar], Cracow, Musica Iagellonica, 2007; M. Janicka-Słysz, ‘Z walcem w tle’ [‘With Waltz in the Background’], interview with Krystyna Moszumańska-Nazar, Ruch Muzyczny, no. 18, 2004, pp. 8–9.

scholarly journals The Importance of Aesthetics as a Dimension in Music Therapy Activity

2006 ◽  
Vol 6 (1) ◽  
Author(s):  
Carl Bergstroem-Nielsen
Keyword(s):  
Music Therapy ◽  
Daily Life ◽  
Musical Structure ◽  
New Concepts ◽  
Starting Point ◽  
Theoretical Question ◽  
The Aesthetic

In Unmoderated Discussions, I began discussing the aesthetic dimension in music therapy, taking Colin Lee's book The Architecture of Aesthetic Music Therapy as a starting-point. Several students and colleagues took part and contributed with further viewpoints, dealing with the positive qualities of the aesthetic dimension for both client and therapist, with the necessary limitation or demarcation of how far the aesthetic view can be taken in music therapy, and with the spiritual (impersonal) aspect of music. Some further thoughts in this article concern the importance of the therapists' musical craft, of musical structure and the theoretical question of what is the nature of the aesthetic dimension. Mention is made of Stige's articles stressing the necessity of applying new concepts that relate the aesthetic dimension to daily life. It is concluded that we need further discussion to clarify the role of the aesthetic dimension in music therapy.

Willing What God Wills

2018 ◽  
Author(s):  
Eleonore Stump
Keyword(s):  
Human Person ◽  
The Self ◽  
Starting Point ◽  
Internal Configuration ◽  
Psychic State

This chapter takes as its starting point the Thomistic interpretation of the doctrine of the atonement, on which the role of the atonement is to bring a human person into a life in grace; and it argues against one interpretation—Eckhart’s or else an Eckhart-like interpretation—of what a life in grace is. Understanding the internal psychic state of a person in grace is a help to understanding the atonement, but this chapter argues that the psychic state Eckhart recommends for life in grace is actually pernicious to the traditionally understood purpose of both suffering and atonement. Whatever the internal configuration is of a human person in a condition of mutual indwelling with God, it is not the self-destructive absence of desire urged by Eckhart. Aquinas’s view that Christ’s prayer in the Garden of Gethsemane is the model for such a state is much more promising.

INTERPRETATION OF SINO-RUSSIAN CULTURE AND HUMANITIES COOPERATION IN THE NEW ERA

2020 ◽  
Vol 10 (3) ◽  
pp. 186-193
Author(s):  
REN YANYAN ◽  
Keyword(s):  
Current Status ◽  
Human Relations ◽  
New Era ◽  
Russian Culture ◽  
The People ◽  
Starting Point ◽  
Cooperative Partnership ◽  
Belt And Road ◽  
The Belt And Road

The friendship between nations lies in the mutual affinity of the people, and the people’s affinity lies in the communion of hearts. The cultural and humanities cooperation between China and Russia has a long history. In recent years, under the role of the“Belt and Road” initiative, the SCO, and the Sino-Russian Humanities Cooperation Committee, Sino-Russian culture and humanities cooperation has continued to deepen. Entering a new era, taking the opportunity to promote Sino-Russian relations into a “new era China-Russia comprehensive strategic cooperative partnership”, the development of human relations between the two countries has entered a new historical starting point, while also facing a series of problems and challenges. This article is based on the current status of Sino-Russian human relations in the new era, interprets the characteristics of Sino-Russian human relations in the new era, analyzes the problems and challenges of Sino-Russian human relations in the new era, and tries to propose solutions and solutions with a view to further developing Sino-Russian cultural and humanities relations in the new era. It is a useful reference, and provides a reference for future related research, and ultimately helps the Sino-Russian cultural and humanities relations in the new era to be stable and far-reaching.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

La conexión entre política de cohesión y gobernanza económica en la UE: Eficiencia del nuevo marco para abordar las consecuencias de la crisis

2015 ◽  
Vol 5 (3) ◽  
pp. 44-62
Author(s):  
Laura Gómez Urquijo
Keyword(s):  
Social Protection ◽  
Economic Governance ◽  
The European Union ◽  
Investment Funds ◽  
Current Economic Crisis ◽  
Starting Point ◽  
New Economic Governance ◽  
Social Protection Systems ◽  
New Instruments

The objective of this article is to contribute to the discussion on the validity of new instruments to enhance cohesion in the European Union (EU). First, we question to which extent cohesion policy is submitted to the new economic governance. Second, we discuss this subordination affects the fulfillment of cohesion aims. This question is especially relevant due to the increase of inequalities in the current economic crisis and the great diversity among State Members (including social protection systems and expenses). Thus, our starting point is the new economic governance framework and its impact on the fulfillment of cohesion objectives. Statistical data are considered with this aim. Next, we will assess the role of European Structural and Investment Funds to eventually compensate public expense cuts, as well as its subordination to the macroeconomic government. This aspect will be contrasted through the study of Country Specific Recommendations given by the European Semester. Spanish El objetivo de este artículo es contribuir a la discusión sobre la validez de los nuevos instrumentos para fomentar la cohesión en la Unión Europea. Nos preguntamos en qué modo queda sometida la política de cohesión a la nueva gobernanza económica y cómo afecta a la efectividad para cubrir susfines. Esta cuestión es particularmente relevante ante el incremento de las desigualdades suscitado en la crisis económica actual. Por ello, nuestro punto de partida es el nuevo marco de gobernanza económica y su impacto en el cumplimiento de los objetivos de cohesión, considerando para ello datos estadísticos. A continuación, valoraremos, el papel de los Fondos Estructurales y de Inversión Europeos como posibles compensadores de la reducción del gasto público así como su subordinación al gobierno macroeconómico. Esta cuestión será contrastada también a través del examen de las Recomendaciones Específicas por país dadas por el Semestre Europeo. French Le but de cet article est de contribuer à la discussion sur la validité de nouveaux instruments pour promouvoir la cohésion dans l'UE. Nous avons considéré, d'une part, en quoi la politique de cohésion est soumise à la nouvelle gouvernance économique et, d'autre part, la façon dont elle utilise l'efficacité pour répondre à ses fins.Cette question est particulièrement pertinente étant donnée l'augmentation de l'inégalité soulevée par la crise économique actuelle, dans un contexte de grande diversité d'États membres, notamment en ce qui concerne les systèmes de protection sociale et les dépenses publiques. Par conséquent, notre point de départ s'inscrit dans le nouveau cadre de gouvernance économique et son impact sur la mise en œuvre des objectifs de cohésion, à partir de la prise en compte de données statistiques. Pour ce faire, nous évaluons le rôle des Fonds Structurels Européens, leur capacité de compenser la réduction des dépenses publiques et leur subordination au gouvernement macroéconomique. Ce e question sera également abordée par l'examen des recommandations spécifiques par pays fournies par le Semestre Européen.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

John Paul II’s Centesimus Annus

2018 ◽  
Author(s):  
Matthew A. Shadle
Keyword(s):  
Common Good ◽  
Free Market ◽  
Human Person ◽  
Economic Life ◽  
Pope John Paul Ii ◽  
John Paul Ii ◽  
Human Creativity ◽  
God's Grace ◽  
Centesimus Annus

Pope John Paul II wrote his 1991 encyclical Centesimus Annus to offer a Catholic vision of political and economic life after the collapse of communism in Eastern Europe and the democratization of many countries in Latin America and Asia. The encyclical provided a stronger defense of the free-market economy than had previous Catholic social teaching, and neoconservative Catholics saw it as a vindication of their views. Centesimus Annus also harshly condemns consumerism, however, and proposes that the state has a greater role in ensuring that the economy serves the common good than do the neoconservatives. John Paul II recognizes the essential role of human creativity and ingenuity in the economy, but balances this by emphasizing that the human person is the recipient of God’s grace.

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