scholarly journals Pantheistic Views on God and on the World bу Friedrich Wilhelm Joseph Schelling

2021 ◽  
Vol 19 (2) ◽  
pp. 136-144
Author(s):  
V. E. Lutsenko ◽  
N. N. Ivashko
Keyword(s):  
Real World ◽  
Fundamental Principle ◽  
The Real ◽  
The World ◽  
Friedrich Wilhelm Joseph Schelling ◽  
German Philosopher ◽  
The Universe

An attempt is made to consider in more detail the pantheistic views of the German philosopher Wilhelm Joseph Schelling on God and the world. His teaching is based on the idea ofthe all-unity ofbeing. God and the Universe are identified in his system, thereby affirming his highest reality. Proclaiming the identity of God and the world, Schelling does not mean the real world of concrete things and phenomena, but its absolute fundamental principle. But such identification was the relegation of God to the level of finite existence. It was necessary to look for new ways to solve the proЬlem.

Cosmology and Moral Philosophy

1998 ◽  
pp. 63-68
Author(s):  
Vladimir N. Dubrovsky
Keyword(s):  
Gravitational Field ◽  
Moral Philosophy ◽  
Real World ◽  
The Other ◽  
Theoretical Physics ◽  
The Real ◽  
The Earth ◽  
The World ◽  
Basic Characteristics ◽  
The Universe

The universe as a whole can be shown to consist of two worlds: the real world and the transcendental world. The real world is a multitude of passing things in a gravitational field: it is the world of nature, every unit of which is born (from the transcendental world), develops, degrades and dies (that is, it returns to the transcendental world). The transcendental world is the world of the integrated, nonpassing, unborn and undying, internally functioning Unity, which is the other side of the real world (so to speak) as roots to a tree and its branches in relation to the surface of the Earth. The fundamental science of the real world is theoretical physics. The transcendental world is also a 'physical' but energyless world. In this paper, I outline characteristics of the real world, and the basic characteristics of the transcendental world which are essential for constructing a theory about the functioning of the cosmological vacuum.

Introduction

2020 ◽  
pp. 1-12
Author(s):  
Emma Gee
Keyword(s):  
Linear Space ◽  
Real World ◽  
The Real ◽  
Fundamental Level ◽  
The World ◽  
Bounded Space ◽  
Way Of Thinking ◽  
The Universe

This book does not interpret the afterlife as a religious phenomenon but rather as a psychological one. At the fundamental level the afterlife is about the nature of the human entity and its relationship with the world. Constructing a space in which the afterlife is supposed to happen is also a way of thinking about the world. It is a space based on “reality,” but it is also an imaginative space that can be filled as we wish. The elements in it, while connected to “reality,” can be related to one another in ways that are not possible in the “real” world. In the Introduction the basic tenets of the book are established: 1. There is no “heaven” and “hell” dichotomy in the Classical afterlife. 2. However, afterlife texts do contain, as a rule, not one but two kinds of space: linear space in the form of a journey through afterlife terrain; and circular or bounded space in the form of a vision of the universe placed inside such a journey. 3. There is a constant striving in our texts to connect the afterlife with the universe of “science.” 4. The attempt to create a congruity between soul and universe is what this book calls “psychic harmonization.” A chapter summary follows.

Multiple original spellings, living authors and the Code: The case of Malachius raniansis Mawlood, Hammamurad & Abdulla, 2017 (Coleoptera: Melyridae)

Zootaxa ◽  
2021 ◽  
Vol 4927 (2) ◽  
pp. 297-300
Author(s):  
ISIDOR S. PLONSKI
Keyword(s):  
Real World ◽  
Zoological Nomenclature ◽  
International Code ◽  
Present Communication ◽  
The Real ◽  
The World

The present communication is primarily nomenclaturial–classical taxonomy is only touched in a side note on a diagnosis. It uses technical terminology coined by Alain Dubois, who is interested in the study of the concepts and theory of biological nomenclature (i.e. the “objective connection between the real world of populations of organisms and the world of language” (Dubois & Ohler 1997)), and who discusses the current ‘International Code for Zoological Nomenclature’ [hereafter just called ‘the Code’] in great detail. The terms are explained where necessary–but see also the glossaries in Dubois et al. (2019) and the works by A. Dubois cited below. 

scholarly journals Biblical Inspirations in Nikifor’s Paintings

2019 ◽  
Vol 26 (3) ◽  
pp. 31-46
Author(s):  
Krzysztof Wałczyk
Keyword(s):  
Real World ◽  
The Self ◽  
Creative Activity ◽  
The Real ◽  
Ideal World ◽  
The World ◽  
Biblical Anthropology ◽  
Divine Order ◽  
The Ideal

Nikifor Krynicki (Epifaniusz Drowniak, 1895-1968) was one of the most popular non-academic Polish painters worldwide. To show the biblical inspiration in his creative output I chose two categories from various thematic aspects: self-portraits and landscapes with a church. There are plenty of Nikifor’s paintings showing him as a teacher, as a celebrating priest, as a bishop, or even as Christ. A pop­ular way to explain this idea of self-portraits is a psychological one: as a form of auto-therapy. This analysis is aims to show a deeper expla­nation for the biblical anthropology. Nikifor’s self-portraits as a priest celebrating the liturgy are a symbol of creative activity understood as a divine re-creation of the world. Such activity needs divine inspira­tion. Here are two paintings to recall: Potrójny autoportret (The triple self-portrait) and Autoportret w trzech postaciach (Self-portrait in three persons). The proper way to understand the self-identification with Christ needs a reference to biblical anthropology. To achieve our re­al-self we need to identify with Christ, whose death and resurrection bring about our whole humanity. The key impression we may have by showing Nikifor’s landscapes with a church is harmony. The painter used plenty of warm colors. Many of the critics are of the opinion that Nikifor created an imaginary, ideal world in his landscapes, the world he wanted to be there and not the real world. The thesis of this article is that Nikifor created not only the ideal world, but he also showed the source of the harmony – the divine order.

Playing With Time: An Analysis of Time and Space in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead

2017 ◽  
Author(s):  
Johanna Lawrie
Keyword(s):  
Real World ◽  
Time And Space ◽  
The Real ◽  
Opening Scene ◽  
The World

In this paper I will examine the multiple layers of time within Tom Stoppard’s play, Rosencrantz and Guildenstern Are Dead. Typically, a script plays with two definitions of the term: stage time being that of the audience and the “real world,” and dramatic time, the passing of time within the world of the play and the characters’ lives. Rosencrantz and Guildenstern Are Dead is unique in its multitude of times, each occupying its own space within the story. Hamlet resides in a time that extends beyond that of Rosencrantz and Guildenstern Are Dead, while presenting the same story through different characters. When are these stories presented harmoniously, and when can gaps be found between the two plays in terms of time? In contrast, the play‐within‐a‐play presented in Rosencrantz and Guildenstern Are Dead, titled “The Murder of Gonzago,” represents the story even prior to the opening scene of Hamlet and has an omniscient quality, presenting elements of both Hamlet and Rosencrantz and Guildenstern Are Dead. Though this play‐within‐a‐play represents the longest view of the overlapping stories, it is presented in the shortest amount of time. “The Murder of Gonzago” plays with the limitations of time and space and the acknowledgment of their presentation in theatrical terms. Throughout the paper I will determine the overlapping nature of times within the plays, how they are structured around one another, and what this symbolises for both the spaces of each play and the characters within.  

Augmented Reality and Experiences

2019 ◽  
pp. 66-93 ◽  
Author(s):  
Prabha Selvaraj ◽  
Sumathi Doraikannan ◽  
Anantha Raman Rathinam ◽  
Balachandrudu K. E.
Keyword(s):  
Augmented Reality ◽  
Real World ◽  
New Technology ◽  
Handheld Devices ◽  
The Real ◽  
The World ◽  
Extensive Range ◽  
Different Types ◽  
Medicine Education

Today technology evolves in two different directions. The first one is to create a new technology for our requirement and solve the problem, and the second one is to do it with the existing technology. This chapter will discuss in detail augmented reality and its use in the real world and also its application domains like medicine, education, health, gaming, tourism, film and entertainment, architecture, and development. Many think that AR is only for smartphones, but there are different ways to enhance the insight of the world. Augmented realities can be presented on an extensive range of displays, monitors, screens, handheld devices, or glasses. This chapter will provide the information about the key components of AR devices. This chapter gives a view on different types of AR and also projects how the technology can be adapted for multiple purposes based on the required type of view.

The World Code

2008 ◽  
pp. 58-75
Author(s):  
Azamat Abdoullaev
Keyword(s):  
Big Bang ◽  
Theoretical Physics ◽  
Formal Ontology ◽  
Knowledge Domain ◽  
The Real ◽  
Black And White ◽  
The World ◽  
Theory Of Everything ◽  
And Mathematics ◽  
The Universe

Formalizing the world in rigorous mathematical terms is no less significant than its fundamental understanding and modeling in terms of ontological constructs. Like black and white, opposite sexes or polarity signs, ontology and mathematics stand complementary to each other, making up the unique and unequaled knowledge domain or knowledge base, which involves two parts: • Ontological (real) mathematics, which defines the real significance for the mathematical entities, so studying the real status of mathematical objects, functions, and relationships in terms of ontological categories and rules. • Mathematical (formal) ontology, which defines the mathematical structures of the real world features, so concerned with a meaningful representation of the universe in terms of mathematical language. The combination of ontology and mathematics and substantial knowledge of sciences is likely the only one true road to reality understanding, modeling and representation. Ontology on its own can’t specify the fabric, design, architecture, and the laws of the universe. Nor theoretical physics with its conceptual tools and models: general relativity, quantum physics, Lagrangians, Hamiltonians, conservation laws, symmetry groups, quantum field theory, string and M theory, twistor theory, loop quantum gravity, the big bang, the standard model, or theory of everything material. Nor mathematics alone with its abstract tools, complex number calculus, differential calculus, differential geometry, analytical continuation, higher algebras, Fourier series and hyperfunctions is the real path to reality (Penrose, 2005).

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

The Road Map

2020 ◽  
pp. 39-65
Author(s):  
Emma Gee
Keyword(s):  
Real World ◽  
Real Space ◽  
Imaginary World ◽  
Spatial Expression ◽  
The Real ◽  
The Road ◽  
Road Map ◽  
The World

This chapter studies the underworld journey of Virgil, Aeneid 6. It examines a series of possible models for afterlife space in Aen. 6. In particular it looks at the underworld journey of Aen. 6 in the light of ancient geographical traditions. We learn that a point-by-point idiom of representing space was much more widespread than you might imagine in antiquity. It’s found across many different genres, involving real and imagined space: geography, poetry, and art. The author argues that idioms of spatial expression are constant across representations of imagined and real space and across image and text. It is possible for Virgil to use the components of a “real” geography to construct his imaginary world. The afterlife is modeled on our concept of the “real” world, but in turn the “reality” we model it on is in large part a construct of the human artistic imagination, of our propenstiy for simplification and schematization. Like a map, the afterlife landscape allows us to simplify and schematize our environment, because it imposes no limits: it is imaginary. The afterlife landscape, in Virgil and elsewhere, acts as a fulcrum between real and imaginary space. There is no strict dichotomy between real and imagined space; instead there is a continuity between the “imagined” space of Virgil’s underworld, and the space of geographical accounts; between the world of the soul and the “real” world.

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