WHY DID AVVAKUM PLAY THE HOLY FOOL? AN АNALYSIS OF THE ARCHPRIEST AVVAKUM’S CREATIVE PROCESS IN WRITING HIS "LIFE"

2021 ◽  
pp. 13-39
Author(s):  
Priscilla Hunt ◽  
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Personal Life ◽  
Creative Evolution ◽  
Knowledge Of God ◽  
Experiential Approach ◽  
Holy Fool

The article studies the polemical orientation of the hagiographical Life of the Archpriest Avvakum, Written by Himself in relation to the author’s earlier works, The Answer of the Orthodox, and other texts that were included together with the Life in the Pustozersk Collection. An analysis of the creative evolution of Avvakum’s thought will demonstrate that the Life’s appeal to holy foolishness at its narrative climax was its strongest ideological weapon against the new Church elite (the Nikonians). This appeal gave rise to an unprecedented emphasis on the author’s personal life experience that was meant to be proof of the “theoretical” arguments against Nikonian rationalism in the The Answer to the Orthodox. As a demonstration of a mystical-experiential approach to knowledge of God, his dramatized holy foolishness justified his choice to present his own biography as a publicistic hagiographical narrative.

Achondroplasia Personal Life Experience Scale

2019 ◽  
Author(s):  
Janika Blömeke ◽  
Rachel Sommer ◽  
Stefanie Witt ◽  
Michaela Dabs ◽  
Francisco Javier Badia ◽  
...  
Keyword(s):  
Life Experience ◽  
Personal Life

scholarly journals A New Approach to Creation of an Artificial Intellect and Method of its Implementation

2021 ◽  
Vol 12 (1) ◽  
pp. 87-110
Author(s):  
Wladimir Stalski
Keyword(s):  
Natural Language ◽  
Work Experience ◽  
Humanoid Robot ◽  
Life Experience ◽  
Private Life ◽  
Personal Life ◽  
Human Model ◽  
Self Awareness ◽  
New Approach ◽  
Population Education

Abstract On the basis of the author’s earlier works, the article proposes a new approach to creating an artificial intellect system in a model of a human being that is presented as the unification of an intellectual agent and a humanoid robot (ARb). In accordance with the proposed new approach, the development of an artificial intellect is achieved by teaching a natural language to an ARb, and by its utilization for communication with ARbs and humans, as well as for reflections. A method is proposed for the implementation of the approach. Within the framework of that method, a human model is “brought up” like a child, in a collective of automatons and children, whereupon an ARb must master a natural language and reflection, and possess self-awareness. Agent robots (ARbs) propagate and their population evolves; that is ARbs develop cognitively from generation to generation. ARbs must perform the tasks they were given, such as computing, whereupon they are then assigned time for “private life” for improving their education as well as for searching for partners for propagation. After having received an education, every agent robot may be viewed as a “person” who is capable of activities that contain elements of creativity. The development of ARbs thanks to the evolution of their population, education, and personal “life” experience, including “work” experience, which is mastered in a collective of humans and automatons.

Perfect (im)Perfections–the choreographer’s reflections on the creative process

2015 ◽  
Vol 6 (1) ◽  
pp. 48-53
Author(s):  
Philip Channells
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Full Length ◽  
Personal History ◽  
Creative Processes ◽  
Cultural Boundaries ◽  
Diverse Backgrounds ◽  
Successes And Challenges

Abstract In 2014 Australian director/choreographer Philip Channells (Dance Integrated Australia) was commissioned by DansiT–Senter for Dansekunst i Sør-Trøndelag to collaborate with 20 members of the Danselaboratoriet and Danseteateret 55+ companies. The end result was a full-length intergenerational, disability-inclusive work that merged poetry, dance, theatre and music. Perfect (im)Perfections–stories untold was created with an international cast of artists with diverse backgrounds and life experience. The work premiered at the Multiplié Dansefestival in Trondheim on 3 April 2014. In his article, Channells shares his personal history and dance background before focusing on the collaboration. He discusses the inspiration behind the work, the creative processes and the successes and challenges in working across cultural boundaries.

God

2019 ◽  
pp. 212-226
Author(s):  
Katherine Sonderegger
Keyword(s):  
Jesus Christ ◽  
Religious Practice ◽  
Personal Life ◽  
Doctrine Of God ◽  
Natural Knowledge ◽  
Knowledge Of God ◽  
Divine Omnipotence ◽  
The Bible ◽  
Divine Perfections ◽  
The One

Barth’s doctrine of God is revolutionary. It leaves behind many of the traditional elements of a doctrine of God—natural knowledge of God, comparative religious practice, and proofs—and puzzles over simplicity and immutability. In their place Barth installs a new maxim, that God demonstrates or ‘proves’ himself. The Bible is the record of that self-demonstration. The divine perfections emerge in dialectical pairs, each displaying the personal life of God as the ‘One who loves in freedom’. Language for God successfully names God when it speaks of Jesus Christ, the Holy One who exemplifies divine omnipotence, omniscience, grace, mercy, and patience. In this way, Barth carries out his programme of Christological concentration, even in the doctrine of God. This is a doctrine of God unlike any other, an unsettling and a glorious one.

The Creative Evolution of the Theoretical Foundations for Cognitive Therapy

2000 ◽  
Vol 14 (2) ◽  
pp. 123-134 ◽  
Author(s):  
Hugh Rosen
Keyword(s):  
Cognitive Therapy ◽  
Creative Process ◽  
Developmental Perspective ◽  
Basic Premise ◽  
Creative Evolution ◽  
Systems Approaches ◽  
Evolving Systems ◽  
Theoretical Foundations

The theoretical underpinnings of Beck’s model of cognitive therapy are examined from a developmental perspective with emphasis upon their creative nature. This is preceded by a general discussion of what constitutes creativity. The application of the discussion to Beck’s developing theory primarily emphasizes the “case study” and “evolving systems” approaches. Major attributes and dimensions of creativity are also defined and their presence in Beck’s evolving theory for cognitive therapy identified. The basic premise of this article is that Beck’s developing theory reflects a creative process and product.

scholarly journals Some personal life events are more prominent than others: Younger and older adults agree on which life events matter most

2018 ◽  
Vol 13 (4) ◽  
pp. 551-569
Author(s):  
Sharda Umanath ◽  
Dorthe Berntsen
Keyword(s):  
Older Adults ◽  
Autobiographical Memory ◽  
Life Events ◽  
Life Experience ◽  
Life Story ◽  
Personal Life ◽  
Younger Adults ◽  
Cultural Life ◽  
Life Script

Some important life events are part of the cultural life script as expected transitional events with culturally sanctioned timing. However, not all personally important events align with the cultural life script, including some events that are widely experienced. Here, we ask whether there are specific characteristics that define the events that become part of a culture’s life script and what role life experience plays. In Experiment 1, younger adults rated life events on different measures tapping central event dimensions in autobiographical memory theories. Cross-culturally extremely frequent cultural life script events consistently received higher ratings than other commonly experienced life story events. Experiment 2 demonstrated that these findings did not interact with age. Both younger and older adults rated the extreme cultural life script events most highly. In addition, older adults rated all types of life events more highly than younger adults, suggesting a greater appreciation of life events overall.

Imitation and Individuation

2019 ◽  
Vol 5 (1) ◽  
pp. 81-95
Author(s):  
Jagna Brudzińska ◽  
Keyword(s):  
Creative Process ◽  
Special Kind ◽  
Point Of View ◽  
Personal Life ◽  
Crucial Feature ◽  
Peculiar Form ◽  
Intersubjective Experience ◽  
Bodily Intentionality ◽  
Decisive Rule ◽  
Phenomenological Point

A crucial feature of our individual biography is grounded in our common corporeal structure. Our life begins with a strong bodily intertwining that has an essential biographical and existential meaning. To elucidate this pre-egological form of connection between subjects, I refer to a peculiar form of sympathetical experience which precedes the intersubjective experience proper. From the genetic phenomenological point of view, sympathetical experience is characterized by a prereflective form of intentionality, which I describe as trans-bodily intentionality, as well as by fusional dynamics realised through a special kind of immediate corporeal fantasy. Focusing on the individuation processes of personal life, I show to which degree trans-bodily intentional dynamics result in the dissolution of the subject’s centricity or at least in its fluidification. Such a fluidification, moreover, should be systematically understood as a condition of possibility for the very process of becoming a Self. In my contribution, I discuss to which degree the corporeal phantasy plays a decisive rule in the creative process of becoming a Self.

Conrad's Changes in Narrative Conception in the Manuscripts of Typhoon and Other Stories and Victory

PMLA ◽  
1949 ◽  
Vol 64 (5) ◽  
pp. 953-962
Author(s):  
H. T. Webster
Keyword(s):  
Creative Process ◽  
Full Scale ◽  
Personal Life ◽  
Total Recall ◽  
Narrative Art ◽  
Intimate Link

Joseph Conrad's Mss provide a curiously intimate link with the personal life of their author. Among other things, the reader may note that Conrad was a smoker, that he had had drawing lessons at some period in his life, that he was on occasion worried about money, and that he was not averse to a refreshing glass. But the greatest importance of his MSS is that they tempt surmises about his creative rather than his personal life. It is lucky that Mr. John Quinn and other collectors were not discouraged by the fact that the holographs were anything but fair copies. The MSS they have preserved contain a full scale of revision offering an unusual opportunity to observe how a narrative art came into being. Conrad says much in his letters of how slow and painful the creative process was for him. His MSS confirm this, not so much by the inordinate amount of revision as by the fact that they show little evidence of pages thrown away or of imaginative lungings. In Almayer's Folly and An Outcast of the Islands, they suggest an obstinate effort at total recall of scenes and situations that the author had either witnessed or believed he had witnessed. One feels that he was the slave as well as the master of his creations. When he put something on paper, it took on the objectivity of fact for him. He could serve such facts, but he could not alter them.

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