scholarly journals TOKOH BHIMA DALAM TEKS DEWA RUCI (Kajian Teologi Hindu)

2018 ◽  
Vol 2 (1) ◽  
pp. 297
Author(s):  
I Komang Widiana ◽  
Ngakan Ketut Juni ◽  
Jro Ayu Ningrat
Keyword(s):  
The Self ◽  
Self Control ◽  
Literary Works ◽  
Living Things ◽  
Depth Study ◽  
The Way

<p><em>Dewa Ruci text tells of the Bhima character's journey in running his swadarma as a disciple of Master Drona to fulfill the task of seeking tirtha amerta pawitra. From the story contained in the Dewa Ruci’s Text has a different phenomenon or contradictions between Bhima-Drona with tirtha amerta pawitra. Thus a more in-depth study of the character, essence and religiosity of Bhima's characters on his journey in the literary works of the Dewa Ruci Text is required. Based on these descriptions, in this study Bhima figures on the Dewa Ruci Text as the object of research, with the title "Bhima In the Text of Dewa Ruci (Hindu Theological Studies).  </em></p><p><em>The results obtained in this study, that the structure that builds the Text of Dewa Ruci consists of synopsis, figure, incident, plot, background, theme and message. While the characters possessed by Bhima characters in Text of Dewa Ruci include obedient characters, ego and arrogant characters, strong character, honest character, unyielding character, knight character, wise character, and diligent character. The essence of Bhima's release in the Text of Dewa Ruci is contained in the discourse given by Hyang Dewa Ruci to Bhima, that all living beings must always be conscious of the self according to the way they choose based on karma (action), jnana (knowledge) and dharma. Thus, it will guide man to unite with the highest essence. The religiosity of the Bhima figures is reflected in Bhima journey which is a process of self-control and submission. In addition, the Bhima character's journey also reflects the holy journey that sanctifies itself so that he is able to meet with Hyang Dewa Ruci, in other words Bhima journey is a form of thirtayatra. As well as other theological teachings contained in the Text of Dewa Ruci is the existence of the concept of pramana as a concept that supports living things. By knowing this knowledge is expected Bhima as human depiction can reach moksartham jagadhitaya.</em></p>

scholarly journals The Complex Relation of Self-determination to Destiny in Oedipus Tyrannos

2015 ◽  
Vol 5 (4) ◽  
pp. 115
Author(s):  
Ruoqi Li
Keyword(s):  
The Self ◽  
Self Control ◽  
Self Determination ◽  
Freedom Of Choice ◽  
Complex Relation ◽  
Fundamental Significance ◽  
Cast Doubt ◽  
Self Knowledge ◽  
The Way

<p>Oedipus Rex, one of the three famed Theban tragedies by the Greek dramatist Sophocles, vividly portrays the complex and often troubling theme of humanity’s relationship to fate. By detailing the way in which Oedipus, king of Thebes, is reduced by the cruelty of predestination into a puppet with no semblance of control over the course of his own life, Sophocles seems to cast doubt on, not only the effectiveness, but also the meaning of self-control. Thus, freedom of choice, humanity’s final assertion of independence, appears to dissolve into hollow mockery. But even then, Sophocles confirms the fundamental significance of the self-knowledge and dignity that comes from struggling against tyrannical destiny. It is this dignity that sustains king Oedipus through his terrible ordeal so that he comes out of it tortured but not destroyed. It is also this elevation that adds to a tale of endless victimization a whole new dimension of complexity and imbues the words with a touch of tragic and transfiguring sublimity.</p>

Pain's Evils

Utilitas ◽  
2009 ◽  
Vol 21 (2) ◽  
pp. 197-216 ◽  
Author(s):  
ADAM SWENSON
Keyword(s):  
Mental States ◽  
The Self ◽  
Self Control ◽  
Intrinsic Properties ◽  
Painful Sensation ◽  
The Way

The traditional accounts of pain's intrinsic badness assume a false view of what pains are. Insofar as they are normatively significant, pains are not just painful sensations. A pain is a composite of a painful sensation and a set of beliefs, desires, emotions and other mental states. A pain's intrinsic properties can include inter alia depression, anxiety, fear, desires, feelings of helplessness and the pain's meaning. This undermines the traditional accounts of pain's intrinsic badness. Pain is intrinsically bad in two distinct and historically unnoticed ways. First, most writers hold that pain's intrinsic badness lies either in its unpleasantness or in its being disliked. Given my wider conception of pain, I believe it is both. Pain's first intrinsic evil lies in a conjunction of all the traditional candidates for its source. Pain's second intrinsic evil lies in the way it necessarily undermines the self-control necessary for intrinsic goods like autonomy.

Relying on the self-control of instrumental others

2014 ◽  
Author(s):  
Grainne Fitzsimons ◽  
Catherine Shea ◽  
Christy Zhou ◽  
Michelle vanDellen
Keyword(s):  
The Self ◽  
Self Control

Taking the "self" out of self control: What dogs can teach us about inhibiting behavior

2010 ◽  
Author(s):  
Holly Miller ◽  
Kristina F. Pattison ◽  
Rebecca Rayburn-Reeves ◽  
C. Nathan DeWall ◽  
Thomas Zentall
Keyword(s):  
The Self ◽  
Self Control

Vérités et Mensonges

2020 ◽  
Vol 39 (2) ◽  
pp. 188-224
Author(s):  
Erik Gunderson
Keyword(s):  
Theory And Practice ◽  
The Self ◽  
Faithful Representation ◽  
Political Subject ◽  
Concrete Reality ◽  
Hermeneutic Process ◽  
The Way

This is a survey of some of the problems surrounding imperial panegyric. It includes discussions of both the theory and practice of imperial praise. The evidence is derived from readings of Cicero, Quintilian, Pliny, the Panegyrici Latini, Menander Rhetor, and Julian the Apostate. Of particular interest is insincere speech that would be appreciated as insincere. What sort of hermeneutic process is best suited to texts that are politically consequential and yet relatively disconnected from any obligation to offer a faithful representation of concrete reality? We first look at epideictic as a genre. The next topic is imperial praise and its situation “beyond belief” as well as the self-positioning of a political subject who delivers such praise. This leads to a meditation on the exculpatory fictions that these speakers might tell themselves about their act. A cynical philosophy of Caesarism, its arbitrariness, and its constructedness abets these fictions. Julian the Apostate receives the most attention: he wrote about Caesars, he delivered extant panegyrics, and he is also the man addressed by still another panegyric. And in the end we find ourselves to be in a position to appreciate the way that power feeds off of insincerity and grows stronger in its presence.

Poetic Trespass

2014 ◽  
Author(s):  
Lital Levy
Keyword(s):  
Twentieth Century ◽  
Visual Art ◽  
Prose Poetry ◽  
Old World ◽  
History And Literature ◽  
Political Boundaries ◽  
Depth Study ◽  
Emile Habiby ◽  
The Relationship ◽  
The Way

A Palestinian-Israeli poet declares a new state whose language, “Homelandic,” is a combination of Arabic and Hebrew. A Jewish-Israeli author imagines a “language plague” that infects young Hebrew speakers with old world accents, and sends the narrator in search of his Arabic heritage. This book brings together such startling visions to offer the first in-depth study of the relationship between Hebrew and Arabic in the literature and culture of Israel/Palestine. More than that, the book presents a captivating portrait of the literary imagination's power to transgress political boundaries and transform ideas about language and belonging. Blending history and literature, the book traces the interwoven life of Arabic and Hebrew in Israel/Palestine from the turn of the twentieth century to the present, exposing the two languages' intimate entanglements in contemporary works of prose, poetry, film, and visual art by both Palestinian and Jewish citizens of Israel. In a context where intense political and social pressures work to identify Jews with Hebrew and Palestinians with Arabic, the book finds writers who have boldly crossed over this divide to create literature in the language of their “other,” as well as writers who bring the two languages into dialogue to rewrite them from within. Exploring such acts of poetic trespass, the book introduces new readings of canonical and lesser-known authors, including Emile Habiby, Hayyim Nahman Bialik, Anton Shammas, Saul Tchernichowsky, Samir Naqqash, Ronit Matalon, Salman Masalha, A. B. Yehoshua, and Almog Behar. By revealing uncommon visions of what it means to write in Arabic and Hebrew, the book will change the way we understand literature and culture in the shadow of the Israeli–Palestinian conflict.

Why Phenomenology?

2018 ◽  
Author(s):  
George Pattison
Keyword(s):  
Twentieth Century ◽  
Subject Matter ◽  
Alternative Model ◽  
Phenomenological Approach ◽  
Human Existence ◽  
Present Approach ◽  
The Self ◽  
Existence Of God ◽  
Pure Intuition ◽  
The Way

This chapter sets out the rationale for adopting a phenomenological approach to the devout life literature. Distinguishing the present approach from versions of the phenomenology of religion dominant in mid-twentieth-century approaches to religion, an alternative model is found in Heidegger’s early lectures on Paul. These illustrate that alongside its striving to achieve a maximally pure intuition of its subject matter, phenomenology will also be necessarily interpretative and existential. Although phenomenology is limited to what shows itself and therefore cannot pass judgement on the existence of God, it can deal with God insofar as God appears within the activity and passivity of human existence. From Hegel onward, it has also shown itself open to seeing the self as twofold and thus more than a simple subjective agent, opening the way to an understanding of the self as essentially spiritual.

The Well-Mannered Auditor

2018 ◽  
Author(s):  
James Deaville
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
The Self ◽  
Modern World ◽  
Music Making ◽  
Social Events ◽  
Drawing Room ◽  
The Way

The chapter explores the way English-language etiquette books from the nineteenth century prescribe accepted behavior for upwardly mobile members of the bourgeoisie. This advice extended to social events known today as “salons” that were conducted in the domestic drawing room or parlor, where guests would perform musical selections for the enjoyment of other guests. The audience for such informal music making was expected to listen attentively, in keeping with the (self-) disciplining of the bourgeois body that such regulations represented in the nineteenth century. Yet even as the modern world became noisier and aurally more confusing, so, too, did contemporary social events, which led authors to become stricter in their disciplining of the audience at these drawing room performances. Nevertheless, hosts and guests could not avoid the growing “crisis of attention” pervading this mode of entertainment, which would lead to the modern habit of inattentive listening.

Sign in / Sign up

Export Citation Format

Share Document