scholarly journals Politics, sex, and spirit: the divided self in oscar wilde's salomé

2019 ◽  
Vol 2 (1) ◽  
pp. 5-12
Author(s):  
Min Pun
Keyword(s):  
The Self ◽  
Divided Self ◽  
The Third ◽  
The World ◽  
Autobiographical Work ◽  
One Act

The paper aims to examine the self in Oscar Wilde’s one-act play Salomé. In the play, there are three characters, namely, Herod, Salomé and Jokanaan who represent the three different worlds of expression. One represents the world of politics who is always in search of power, the second represents the world of sex who is in search of love and passion, and the third one represents the world of spirit who dedicates his life for God. These characters comprise of three different selves of Wilde and his writing, making his play as a fictionalized autobiographical work.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

scholarly journals ‘THE RULE OF THREE’ IN THE GROWTH STORIES – GANGBAIK LEE’S DRAMA “LIKE LOOKING AT THE FLOWER IN THE MIDWINTER”

2016 ◽  
Vol 1 ◽  
pp. 11-22
Author(s):  
Mansu KIM
Keyword(s):  
Fairy Tale ◽  
The Self ◽  
The Real ◽  
Final Destination ◽  
The Third ◽  
The Core ◽  
Rule Of Three ◽  
The Poor ◽  
The World

This paper focused on the structure of the growth stories, especially in surveying Gangbaek Lee’s (이강백) drama “Like Looking at the Flower in the Mid-winter (동지섣달 꽃 본 듯이)”. It is structured by ‘rule of the three’. In this text, three sons go to seek their mother, they experience the tests three times. Third son wins the game because he succeeds to find his true and alternative mother. It is similar to the story of English fairy tale “Three Little Pigs”.  In Freudian terms, the characters of the both texts are superego, ego and id. The core of the growth story is that third son (id) wins the first son (superego) and the second son (ego) by using his own energy (meaningful labor). In Levi Strauss’ terms, the contrast between the third and the others can be schemed the contrast between culture and nature. Lee’s drama presents the third son as the real hero who overcomes two elder brothers. The first is so conservative (oversleep), the second is so selfish (overeat). Two brothers were too political or too ideal to become a true, humanistic and warm-minded adult. In his view, ‘drama’ related to the third son is the most humanistic and warm-minded action in the world. These both stories are based on the plot ‘rags to riches’ which contains the success of the poor and powerless. In other words, the poor and weak child can grow to the true hero, and reach the final destination, according to the Gustav Jung’s expression, ‘the Self as a Whole’.

Noumenon and Phenomena

1987 ◽  
Vol 23 (4) ◽  
pp. 493-508 ◽  
Author(s):  
Gerard Loughlin
Keyword(s):  
The Self ◽  
Christian Theology ◽  
Small Contribution ◽  
John Hick ◽  
World Religions ◽  
Christian Life ◽  
The Third ◽  
The World

How is Christian theology, as the self-understanding of the Christian life, to understand the world religions? How is it to understand them in relation to itself? In recent years Professor John Hick has proposed a pluralist paradigm of the world religions which would, if acceptable, answer these sort of questions. In this article we are going to consider the acceptability of Hick's paradigm to Christian theology. The question we want to put to it is simple: Will it do as a model for how Christian theology may begin to think its relation to the world religions?Our discussion is in three parts. In the first part we present Hick's paradigm in, what we take to be, it's strongest form, defending it against certain criticisms. In the second part we consider its phenomenological foundations and the possibility of its judicious evaluation. Finally, in the third part, we offer a critique and come to a conclusion about it's acceptability to Christian theology. However, our answer is only a small contribution to a much larger task: ‘the theological understanding of non-Christian religions’.

scholarly journals Myth Actualization as a Way to Build the Self-Reflective Plot of the Film “Ilyich’s Gate”

2019 ◽  
Vol 16 (6) ◽  
pp. 595-605
Author(s):  
Aleksey O. Bezzubikov
Keyword(s):  
Historical Development ◽  
The Self ◽  
Time And Space ◽  
Self Reflection ◽  
The Third ◽  
Cultural Codes ◽  
Fourth Part ◽  
The World ◽  
The Moment

The article provides the analysis of mytho­logical dimension of the film “Ilych’s Gate” (Zastava Ilycha) by M.M. Khutsiev. The author concludes that the text of this film represents self-reflexive structure. Firstly, the plot of the film quite clearly depicts the mythological perception of reality. Secondly, the course of narration reproduces the influence of mytho­logical codes on the perception of the audience. The text of the film contains a description of its own mechanism of influence on the viewer as well as the processes taking place in the minds of the audience at the moment of viewing.The first part informs of the main principles of mytho­logical thinking and the idea of time and space in the myth, referring to the works by C. Lévi-Strauss, R. Barthes, M. Eliade, A. Losev, E. Cassirer and others. Special attention is paid to the role of myth and initiation ritual in the psychological formation of a personality, as, based on the following, this is the theme that forms the basis of the film plot.The second part deals with the methods by which the mythological dimension is manifested in the text of the film.In the third part, the researcher shows how the contrast of secular and sacral becomes the main semantic opposition promoting the motion of the plot.In the fourth part, the author proves that the reflection of reality in the characters’ minds is a referent of the images shown on the screen. The characters’ development lies in the actualization of the sacral and mythological perception of the world. In turn, the cultural codes contained in the text of the film are designed to evoke a kind of response in the minds of the audience — to actualize the same sacred modus of perception in its ideas, the achievement of which is the ultimate goal of the characters. Thus, the inner path of the characters in the film reflects the processes that excite the studied film in the perception of the audience.The relevance of the article lies in the discovery and description of the principle of self-reflection in the structure of the film “Ilych’s Gate”, which allows us to understand at a qualitatively new level its structure and place in the historical development of Russian cinematography.

Fictio Audaciae: Beyond the Self-Preservation of the Enlightenment [Enment]

2019 ◽  
Vol 29 (4) ◽  
pp. 107-128
Keyword(s):  
Science Fiction ◽  
Laws Of Nature ◽  
The Self ◽  
Main Issue ◽  
The Third ◽  
The Enlightenment ◽  
The World ◽  
Fredric Jameson

The article is devoted to tracing out the operations of the Enlightenment’s self-preservation mechanism in the realm of imagination and to a search for ways to problematize that mechanism. The Enlightenment blocks imagination by subordinating it to self-preservation, which cloaks the utopian impulse. This cloaking is found in both science fiction and extro-science fiction (Quentin Meillassoux’s term). Extroscience fiction reveals the limits of self-preservation and self-restraint placed on the Enlightenment: an agreement to a rational despotism of knowledge liberated from nature (and from its laws). What remains outside the area accessible to the enlightened imagination may be referred to as “non-Kantian worlds of the third type.” Access to these worlds is closed, as the main issue for the enlightened imagination remains the infernological question of return and narration. This limitation predetermines the instrumentalization of the non-Kantian worlds of the third type, which become the means of supporting life and knowledge. Fictio Audaciae is a regime of imagination that has not been produced by the Enlightenment, but from which the Enlightenment derives its energy, while struggling always to keep it under control. However, the mechanism of self-preservation is vanquished by a utopian anarchism in which the imagination gains access to the nonKantian worlds of the third type by means of the “terror of obliteration.” According to Fredric Jameson, the terror of obliteration circumvents self-preservation. Nature understood as rebellion and reason that has abandoned the pursuit of self-preservation converge in the Gordin Brothers’ world of “noncorrelation” in which the key role belongs to anarchic technology rather than to the “magic of the Enlightenment.” The Gordin Brothers’ utopian Anarchy Land is neither science fiction nor extro-scientific fiction, but a techno-fiction in which the laws of nature are not even contingent but have been declared never to have existed This non-existence is explained by the principle of noncorrelation (nature as a set of laws does not exist, laws and the world are not correlated). Based on the principle of noncorrelation and guided by the utopian impulse (Fictio Audaciae), the Gordin Brothers not only postulate the existence of non-Kantian worlds of the third type, but also offer a utopian description of them.

“Betty Friedan versus the Third World”

2017 ◽  
Author(s):  
Jocelyn Olcott
Keyword(s):  
Third World ◽  
Attorney General ◽  
Women's Status ◽  
The Self ◽  
Betty Friedan ◽  
The Third ◽  
Women’S Status ◽  
The World ◽  
The Common ◽  
The Third World

This chapter centers on US feminists’ objections to the fact that a man, Mexican Attorney General Pedro Ojeda Paullada, presided over the IWY intergovernmental conference. Those more familiar with UN protocols pointed to the common practice of having the head of the host country’s delegation preside over thematic conferences, and many participants from around the world applauded the idea that men also should be concerned about women’s status. Those objecting to Ojeda Paullada’s presidency coalesced into the self-styled Feminist Caucus. The episode raised issues about which strands of feminism enjoyed legitimacy in different contexts and whether women needed separate spaces to deliberate without involvement by men.

Phenomenological Psychopathology and Neuroscience

2018 ◽  
pp. 908-924
Author(s):  
Georg Northoff
Keyword(s):  
Major Depressive Disorder ◽  
Spontaneous Activity ◽  
The Self ◽  
Special Focus ◽  
Major Depressive ◽  
The Third ◽  
Spatial Changes ◽  
The World ◽  
Special Relevance ◽  
Phenomenological Psychopathology

The aim of this chapter is to introduce spatiotemporal psychopathology and the way it may complement and extend phenomenological psychopathology by bridging the methodological gap between brain and experience. The first section gives examples of spatiotemporal correspondence between neuronal and psychopathological features. Specifically, it discusses how spatial changes in the brain’s spontaneous activity translate into abnormal experience of the self in major depressive disorder (MDD). This is followed by the second section which focuses on spatiotemporal continuity. Specifically, the second section highlights the special relevance of temporal changes in spontaneous activity and its relation to the world and how that translates into hallucinations in schizophrenia. Finally, the third section briefly discusses the method of such spatiotemporal psychopathology and distinguishes it from other forms of psychopathology with a special focus on showing the continuity between spatiotemporal and phenomenological psychopathology.

scholarly journals Editorial

2019 ◽  
Vol 12 (1) ◽  
pp. 10-11
Author(s):  
BERTHA RAMOS HOLGUÍN ◽  
Anna Carolina Peñaloza Rallón
Keyword(s):  
Lived Experiences ◽  
Language Teaching ◽  
Indigenous Communities ◽  
The Self ◽  
Editorial Committee ◽  
The Third ◽  
The World

It is a pleasure for our editorial committee to share with you this new edition of ENLETAWAJOURNAL. This issue highlights the fact that writing is a crucial form of human expression.Thus, this number presents research reports about various themes that range from interculturalityto students' voices to language teaching in indigenous communities. It also explores writing fromthe self-based on authors' lived experiences. The first part of the journal accounts for researchreports as reliable sources about conducted research. The second part includes reflective essaysfrom the students in the 16th M.A. in Language Teaching cohort on topics related to linguisticsand their contexts. The third part of this issue invites readers to enjoy a portrait of the self as ameans of expressing and reflecting about life in a personal way. The works in this volume reflectan opportunity to write with more creativity, insight, and enjoyment. This volume attempts toempower writers “to be better scholars, to live more fully in the world” (Hooks, 1994, p. 6)through the interrogation of homogenized ways of writing.

scholarly journals El problema de la donación en la reflexión de Patočka

2021 ◽  
pp. 19
Author(s):  
Marco Barcaro
Keyword(s):  
The Self ◽  
The Third ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Phenomenal Field ◽  
Pure Immanence ◽  
The Way

Esta contribución presenta como el concepto filosófico de “donación” es reinterpretado en la reflexión de Patočka. Partiendo de la lección husserliana, gracias a la cual las cosas son dadas en la pura inmanencia de la consciencia, él critica esta orientación “subjetivista” porque no desarrolla adecuadamente el tema del aparecer en el campo fenomenal. La segunda sección analiza tres desplazamientos metódicos que abarcan: el rol del sujeto, su relación con la trascendencia, el darse a sí mismo del mundo en su totalidad. La tercera sección compara la reflexión de Patočka con dos referencias cruzadas a algunos intentos similares en la historia de la fenomenología. El tema de “la donación”, por tanto, nos traslada al mayor problema con el que ha trabajado siempre la filosofía: la manifestación del mundo. Patočka intentó esclarecer este problema mediante dos metáforas (el espejo y la pintura), pero también subrayó cómo concierne el modo en el que el hombreinterpreta la propia existencia.This paper presents how the philosophical key concept of givenness is reinter-preted in Patočka's reflection. Starting from the Husserlian idea, according to which things are given in the pure immanence of consciousness, Patočka criticized this "subjectivist" orientation because it doesn’t adequately develop the appearing in the phenomenal field. The second section analyzes three main methodical shifts concerning: the nature and the role of the subject, its relationship with the transcendence, the self-giving of the world as a whole. The third section compares Patočka's reflection and two cross-references to similar undertaking in the history of phenomenology. The theme of givenness brings us back in the end to the biggest problem within which philosophy has always worked: world manifestation. Patočka tried to clarify this issue through two metaphors (the mirror and the painting), but he also highlighted as it concerns the way in which man interprets his existence. 

Optimum Structure of the Banking Market: How Many Banks Are Necessary for Russia?

2006 ◽  
pp. 75-92 ◽  
Author(s):  
S. Moiseev
Keyword(s):  
Banking Sector ◽  
Optimum Structure ◽  
Population Number ◽  
The Third ◽  
Banking Market ◽  
The World ◽  
The Usa ◽  
Per Capita ◽  
The Empirical Analysis ◽  
Equilibrium Number

The number of classical banks in the world has reduced. In the majority of countries the number of banks does not exceed 200. The uniqueness of the Russian banking sector is that in this respect it takes the third place in the world after the USA and Germany. The paper reviews the conclusions of the economic theory about the optimum structure of the banking market. The empirical analysis shows that the number of banks in a country is influenced by the size of its territory, population number and GDP per capita. Our econometric estimate is that the equilibrium number of banks in Russia should be in a range of 180-220 units.

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