scholarly journals O pojmowaniu „rozwiązłości” w czasach przedchrześcijańskich: zjawisko prostytucji sakralnej

2020 ◽  
Vol 10 (4) ◽  
pp. 57-69
Author(s):  
Maria Krysztofiak
Keyword(s):  
Historical Change ◽  
Mircea Eliade ◽  
Jean Paul ◽  
The World ◽  
History Of ◽  
Historical Phenomenon

The article presents the phenomenon of sacred prostitution which was characteristic of many ancient cultures and religions throughout the world. It shows a few of the most important issues connected with the sacred prostitution (also called religious or ritual): its origins (the cult of deities of love and fertility, typical of the pre-Christian cultures); its forms (one-time prostitution as an act of sacrificing one’s virginity or one-time sacrifice of a woman who was no longer a virgin, and constant prostitution practiced by priestesses or temple prostitutes); its main purposes (unification with deity, making a tribute to deity, pledge of the fertility of men, earth and animals by re-enactment of archetypical act of hieros gamos, the divine marriage). The article also analyses the religious anatomy of the phenomenon, basing on the thesis of Mircea Eliade; shows examples of sacred prostitution, taken mainly from The Golden Bough,the canonic work of Sir James George Frazer, and F.S. Pierre Dufour’s History of Prostitution; discusses the taboo of women’s blood on the basis of Jean-Paul Roux’s works; mentions the historical change in the meaning of the word “virgin” applying to Edward Whitmont’s statements; brings up controversies over the judgment of sacred prostitution as a historical phenomenon, referring to Edward Whitmont’s and Georg Baudler’s standpoints.

Introduction

2017 ◽  
Author(s):  
Ellen Lockhart
Keyword(s):  
Art Music ◽  
Detailed Account ◽  
Works Of Art ◽  
The Arts ◽  
The World ◽  
History Of ◽  
Historical Phenomenon ◽  
The Rich ◽  
Musical Canon

This book considers the history of aesthetics by taking into account not only theories of the arts but also the rich fabric of practices relating to the world of performing bodies onstage and the music that sounded alongside them and was made by them—the works of art, music, and theater that were conspicuously about art-objecthood. The introduction sketches the broader fashion for animated statues described in the book, asking what readers can hope to gain from a detailed account of this historical phenomenon that was situated at (or near) the emergence of modern aesthetic thought, as well as the birth of a musical canon.

Sartre, Jean-Paul (1905–80)

2018 ◽  
Author(s):  
Christina Howells
Keyword(s):  
Collective Choice ◽  
Personal History ◽  
The Other ◽  
Jean Paul ◽  
Starting Point ◽  
The World ◽  
Dialectical Reason ◽  
History Of ◽  
Phenomenological Account ◽  
Material Conditions

Sartre was a philosopher of paradox: an existentialist who attempted a reconciliation with Marxism, a theorist of freedom who explored the notion of predestination. From the mid-1930s to the late-1940s, Sartre was in his ‘classical’ period. He explored the history of theories of imagination leading up to that of Husserl, and developed his own phenomenological account of imagination as the key to the freedom of consciousness. He analysed human emotions, arguing that emotion is a freely chosen mode of relationship to the outside world. In his major philosophical work, L’Être et le Néant(Being and Nothingness) (1943a), Sartre distinguished between consciousness and all other beings: consciousness is always at least tacitly conscious of itself, hence it is essentially ‘for itself’ (pour-soi) – free, mobile and spontaneous. Everything else, lacking this self-consciousness, is just what it is ‘in-itself’ (en-soi); it is ‘solid’ and lacks freedom. Consciousness is always engaged in the world of which it is conscious, and in relationships with other consciousnesses. These relationships are conflictual: they involve a battle to maintain the position of subject and to make the other into an object. This battle is inescapable. Although Sartre was indeed a philosopher of freedom, his conception of freedom is often misunderstood. Already in Being and Nothingness human freedom operates against a background of facticity and situation. My facticity is all the facts about myself which cannot be changed – my age, sex, class of origin, race and so on; my situation may be modified, but it still constitutes the starting point for change and roots consciousness firmly in the world. Freedom is not idealized by Sartre; it is always within a given set of circumstances, after a particular past, and against the expectations of both myself and others that I make my free choices. My personal history conditions the range of my options. From the 1950s onwards Sartre became increasingly politicized and was drawn to attempt a reconciliation between existentialism and Marxism. This was the aim of the Critique de la raison dialectique (Critique of Dialectical Reason) (1960) which recognized more fully than before the effect of historical and material conditions on individual and collective choice. An attempt to explore this interplay in action underlies both his biography of Flaubert and his own autobiography.

scholarly journals Av denna världen?

2021 ◽  
Vol 97 (3) ◽  
Author(s):  
Anton Jansson
Keyword(s):  
Political Thought ◽  
Kingdom Of God ◽  
Historical Change ◽  
History Of Political Thought ◽  
Political Ideologies ◽  
The World ◽  
History Of ◽  
Specific Concept ◽  
Theological Concept

This article deals with the theological concept "Kingdom of God" in pre-1848 German political thought, more specifically in the texts of three political authors of the era: Wilhelm Weitling, Friedrich Julius Stahl, and Karl Theodor Welcker. The article is located in the nexus between theology and history of political thought, and has three main aims: First, in a gen­eral sense, it discusses and applies Amos Funkenstein's idea of laymen theology and Jan-Werner Müller's notion of in-between figures. Second, using these, it gives an example how theology has been an active language in the formation of modern political thought, more specifically the modern political ideologies of liberalism, socialism, and conservatism. Third, it tries to complement existing studies of temporality and theology in the mod­ern period, most notably the work of Jayne Svenungsson. Methodologically, in focusing and historicizing one specific concept, it connects to the theories of Reinhart Koselleck. The article shows how the Kingdom of God was differently conceived by authors of different political positions, but, more importantly, discusses how it became an active theological concept, used by laymen, in a political context obsessed with questions of historical change, the possibility of societal perfection, and the role of Christianity in the world.

A History of the World Semiconductor Industry

IEE Review ◽  
1991 ◽  
Vol 37 (10) ◽  
pp. 355
Author(s):  
D.A. Gorham
Keyword(s):  
Semiconductor Industry ◽  
The World ◽  
History Of

The problem of periodization of the history of religion

1997 ◽  
pp. 3-8
Author(s):  
Borys Lobovyk
Keyword(s):  
Religious Studies ◽  
Human Being ◽  
Religious Development ◽  
History Of Religion ◽  
The Social ◽  
The World ◽  
History Of ◽  
Role Of Religion

An important problem of religious studies, the history of religion as a branch of knowledge is the periodization process of the development of religious phenomenon. It is precisely here, as in focus, that the question of the essence and meaning of the religious development of the human being of the world, the origin of beliefs and cult, the reasons for the changes in them, the place and role of religion in the social and spiritual process, etc., are converging.

Mülteci olmak: Mersin’de yaşayan Filistinli mültecilerin göç hikâyeleri

2016 ◽  
Vol 3 (2) ◽  
pp. 200-224
Author(s):  
Bilge Deniz Çatak
Keyword(s):  
Oral History ◽  
Daily Life ◽  
Palestinian Refugees ◽  
Emotional Bonds ◽  
The World ◽  
History Of ◽  
Oral History Interviews ◽  
Refugee Experience

Filistin tarihinde yaşanan 1948 ve 1967 savaşları, binlerce Filistinlinin başka ülkelere göç etmesine neden olmuştur. Günümüzde, dünya genelinde yaşayan Filistinli mülteci sayısının beş milyonu aştığı tahmin edilmektedir. Ülkelerine geri dönemeyen Filistinlilerin mültecilik deneyimleri uzun bir geçmişe sahiptir ve köklerinden koparılma duygusu ile iç içe geçmiştir. Mersin’de bulunan Filistinlilerin zorunlu olarak çıktıkları göç yollarında yaşadıklarının ve mülteci olarak günlük hayatta karşılaştıkları zorlukların Filistinli kimlikleri üzerindeki etkisi sözlü tarih yöntemi ile incelenmiştir. Farklı kuşaklardan sekiz Filistinli mülteci ile yapılan görüşmelerde, dünyanın farklı bölgelerinde mülteci olarak yaşama deneyiminin, Filistinlilerin ulusal bağlılıklarına zarar vermediği görülmüştür. Filistin, mültecilerin yaşamlarında gelenekler, değerler ve duygusal bağlar ile devam etmektedir. Mültecilerin Filistin’den ayrılırken yanlarına aldıkları anahtar, tapu ve toprak gibi nesnelerin saklanıyor olması, Filistin’e olan bağlılığın devam ettiğinin işaretlerinden biridir.ABSTRACT IN ENGLISHPalestinian refugees’ lives in MersinIn the history of Palestine, 1948 and 1967 wars have caused fleeing of thousands of Palestinians to other countries. At the present time, its estimated that the number of Palestinian refugees worldwide exceeds five million. The refugee experience of Palestinians who can not return their homeland has a long history and intertwine with feeling of deracination. Oral history interviews were conducted on the effects of the displacement and struggles of daily life as a refugee on the identity of Palestinians who have been living in Mersin (city of Turkey). After interviews were conducted with eight refugees from different generations concluded that being a refugee in the various parts of the world have not destroyed the national entity of the Palestinians. Palestine has preserved in refugees’ life with its traditions, its values, and its emotional bonds. Keeping keys, deeds and soil which they took with them when they departed from Palestine, proving their belonging to Palestine.

Introduction: Emotion, History and the Arts

2018 ◽  
Vol 7 (2) ◽  
pp. 117-128 ◽  
Author(s):  
Erin Sullivan ◽  
Marie Louise Herzfeld-Schild
Keyword(s):  
Historical Change ◽  
Carson Mccullers ◽  
Emotional Life ◽  
Review Section ◽  
The Arts ◽  
Wide Range ◽  
War Correspondents ◽  
History Of ◽  
Johan Huizinga

This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from different times and places—including the novels of Carson McCullers and Harriet Beecher-Stowe, the private poetry of neo-Confucian Chinese civil servants, the photojournalism of twentieth-century war correspondents, and music from Igor Stravinsky to the Beatles—the introduction proposes five ways in which art in all its forms contributes to emotional life and consequently to emotional histories: first, by incubating deep emotional experiences that contribute to formations of identity; second, by acting as a place for the expression of private or deviant emotions; third, by functioning as a barometer of wider cultural and attitudinal change; fourth, by serving as an engine of momentous historical change; and fifth, by working as a tool for emotional connection across communities, both within specific time periods but also across them. The introduction finishes by outlining how the special issue's five articles and review section address each of these categories, while also illustrating new methodological possibilities for the field.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

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