Color and Light: Huxley's Pathway to Spiritual Reality

1995 ◽  
Vol 41 (1) ◽  
pp. 81 ◽  
Author(s):  
Sally A. Paulsell
2020 ◽  
Vol 63 (4) ◽  
pp. 115-131
Author(s):  
Maria M. Kuznetsova

The article examines the philosophy of Henri Bergson and William James as independent doctrines aimed at rational comprehension of spiritual reality. The doctrines imply the paramount importance of consciousness, the need for continuous spiritual development, the expansion of experience and perception. The study highlights the fundamental role of spiritual energy for individual and universal evolution, which likens these doctrines to the ancient Eastern teaching as well as to Platonism in Western philosophy. The term “spiritual energy” is used by Bergson and James all the way through their creative career, and therefore this concept should considered in the examination of their solution to the most important philosophical and scientific issues, such as the relationship of matter and spirit, consciousness and brain, cognition, free will, etc. The “radical empiricism” of William James and the “creative evolution” of Henry Bergson should be viewed as conceptions that based on peacemaking goals, because they are aimed at reconciling faith and facts, science and religion through the organic synthesis of sensory and spiritual levels of experience. Although there is a number of modern scientific discoveries that were foreseen by philosophical ideas of Bergson and James, both philosophers advocate for the artificial limitation of the sphere of experimental methods in science. They call not to limit ourselves to the usual intellectual schemes of reality comprehension, but attempt to touch the “living” reality, which presupposes an increase in the intensity of attention and will, but finally brings us closer to freedom.


Science ◽  
1996 ◽  
Vol 272 (5268) ◽  
pp. 1595a-1595a
Author(s):  
B. E. Schaefer
Keyword(s):  

Author(s):  
Marina A. Dubova ◽  
Valeriya V. Efremova

The article is devoted to the analysis of the techniques of color painting and light painting in the story of the neorealist writer I.A. Bunin “The Mad Artist”. The relevance is due to the fact that in the modern education system, more attention is paid to innovative pedagogical receptions designed to optimize the educational process and ensure greater independence in work. In particular, interest in case technology is growing. The purpose of the article is the philological analysis of the story of I.A. Bunin’s “The Mad Artist” with the use of case technology techniques. The authors of the article take a case teaching the analysis and assessment of the situation as the basis for working with the text of the Bunin story. Based on it, the article presents an analysis of the linguistic parameters of a literary text and the means of their representation at the lexico-semantic level, revealing the techniques of color and light painting used by the writer in a work and participating in the implementation of the main principle of constructing a text – antithesis. The analysis is based on the comparative-comparative method, methods of citation and holistic analysis of a literary work. As a result of the research, a Russian language lesson was developed for high school students on the topic «Color and light painting as components of the creator’s world in I.A. Bunin̕ s story “The Mad Artist”» based on the techniques of case technology. The solution of the proposed case contributes to the development of creative and critical thinking of students, the formation of skills to work both individually and in pairs, the development of communicative and linguistic competencies.


in education ◽  
2013 ◽  
Vol 16 (2) ◽  
Author(s):  
Cynthia M. Morawski

From the emulsion of images taken yesterday, we develop our engagement in time today—the then that is always changing into now. Weathered shutters close together. Driftwood shifts on rocky sand. Sedges grow among the seashells. Grasses ground a concert band. Seen through the sights of a stereoscopic viewer, the author uses both her word and image to travel through presents in retaken pasts—portals into the practice of her language arts classroom life. The thought of a carousel going round, turns writing into other ways for words to resound. The recollection of sepia on a rooftop at night changes voice into variegations of color and light. It is in these moments of remembered scenes that the author reconsiders what her teaching means.Keywords: writing; photographic inquiry; poetic inquiry; English Language Arts


Author(s):  
Oleksandr Brayko

The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.


2017 ◽  
pp. 168-180
Author(s):  
Gerard Carruthers

If Muriel Spark has strong elements of Gothic apparatus in her work, then this is generally of the kind that works through urban rather than ‘wilder’ or more ‘sublime’ settings. Gothic, supernatural, uncanny elements are used in Spark’s fiction, most especially, to undermine and satirise the modern, material, town-based life of twentieth-century humanity and to signal an alternative immaterial, moral, spiritual reality in which, as a Christian, she believes. Alongside her crucial Catholicism, Spark’s Scottishness provides a particular Gothic accent to her work through a set of texts on which she frequently riffs. These include the Scottish Border Ballads, James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) and Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886). This set of texts does not make for any ‘essential’ Scottish Gothic canon, but rather relies on Hogg’s steepage in the Ballads, Stevenson’s knowledge of Hogg and Spark’s interest in all of these things.


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