scholarly journals The phenomenon of suffering of the righteous in the Orthodox thought of God

2000 ◽  
pp. 31-35
Author(s):  
N. I. Kavunenko
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
The World

The problem of the existence of suffering in the world originally disturbed people. Particular attention is paid to it in the twentieth century, when the negative states of human life in the world become global.

Astrology

2021 ◽  
pp. 138-158
Author(s):  
Marek Tuszewicki
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
The Sun ◽  
Deep Roots ◽  
Jewish Culture ◽  
The Bible ◽  
Jewish Society ◽  
The World ◽  
Attributes Of God

This chapter discusses the role of astrology in Jewish medicine, which was another field of great significance for therapeutics. The Bible exhorted Israel not to fear 'portents in the sky' that caused the pagans to tremble. While they rejected the speculations of astrologers of other nations and doubted the accuracy of their predictions, the actual idea of astral influences recurred frequently in their own writings. Knowledge of basic astrological concepts was crucial to an understanding of many aspects of Jewish culture, above all the calendar and the rabbinic discussions surrounding it. The conviction that the seven planets influenced human life and health, in particular at the hour of one's birth, had put down deep roots in the popular consciousness. The Jews perceived a link between the movements of the heavenly bodies and the comparable phenomena of dying and returning to life that they observed in nature. In the folk imagination, the image of the sky was enriched by the conviction that everybody had a light, or lamp, up there which was extinguished with their death. It is pertinent to add that the sun, moon, and stars (and sometimes also the seven planets) featured extremely frequently in the texts of Jewish conjurations. They were mentioned above all in incantations, alongside the attributes of God and religious paraphernalia endowed with an aura of sanctity. Astrology was an intrinsic aspect of views on the rules governing the world that dominated thought in Jewish society until the early twentieth century.

scholarly journals Orwell's Satirical View of Romantic Love in the Terrorized World of Nineteen Eighty-Four

2017 ◽  
Vol 6 (6) ◽  
pp. 78
Author(s):  
Mohammad Hossein Besharati ◽  
Golnar Mazdayasna ◽  
Sayed Mohammad Anoosheh
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Romantic Love ◽  
Positive Stimulus ◽  
Central Character ◽  
Technological Society ◽  
Three Phase ◽  
The World ◽  
The One

The beginning of twentieth century was accompanied with the prevailing current of technology in different aspects of human life. At first, it incited a positive stimulus which could build a utopian world on the advancement of technology. However, the bloody World Wars averted this view and the technological utopia was replaced by Orwellian dystopia. Orwell's Nineteen Eighty-Four is a satirical work which moves against Wells' utopian toward the reflection of a distorted technological society. Undoubtedly, satire is the best literary mode for dystopic depiction of the world specifically the one portrayed in Nineteen Eighty-Four. Winston Smith, the central character of this novel, is lower from his society in terms of intelligence and power of action. Therefore, he is put under rigid controls and brainwashing. And at last, he awfully rejects his love in favor the principles of the Party. Thus, in this study, we try to investigate Winston's romantic life in a satiric manner with respect to Northrop Frye's theme of romance which includes the three phase of agon, pathos and anagnorisis. 

Russian Religious Aesthetics in the First Half of the Twentieth Century

2020 ◽  
pp. 361-378
Author(s):  
Victor V. Bychkov ◽  
Oleg V. Bychkov
Keyword(s):  
Twentieth Century ◽  
Holy Spirit ◽  
Aesthetic Experience ◽  
Human Life ◽  
Kingdom Of God ◽  
Human Race ◽  
Artistic Creativity ◽  
Important Principle ◽  
The World ◽  
The Holy Spirit

At the turn of the twentieth-century Russian culture experienced a spiritual-religious Renaissance, which was accompanied by a rise of religiously oriented aesthetics. Generally, this aesthetics amounted to an awareness of the highest role that aesthetic experience, and in particular art, plays in human life and culture. Within this aesthetics, beauty, the beautiful, art, artistic creativity and symbols, and the artist-creator were viewed in a spiritually heightened and almost sacred way. Beauty was considered as the highest value and often as an essential trait of God himself, Sophia, the Wisdom of God, the Holy Spirit, the Theotokos, or the Universal Church. Beauty was also considered to be the most important principle of the existence of the human race, or as an essential and divine foundation of culture and art. Art itself was conceptualized as divinely inspired creativity, and the artist as a divinely chosen conduit of spiritual ideas and images, which can be expressed exclusively in artistic forms; as a theurge, whose mind and hand are guided by divine powers. Finally, this aesthetics viewed artistic creativity as that ideal paradigm which, by providing aesthetic principles, serves as the foundation of human life, of the culture of the future, and of the final stage of the divine creation of the world—the creation of the Kingdom of God on earth—that will be taken over by artists-creators-theurges.

Tragedy

2018 ◽  
Author(s):  
Susan L. Feagin
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Human Life ◽  
The United States ◽  
Human Action ◽  
Moby Dick ◽  
Modern Times ◽  
Critical Tradition ◽  
The World ◽  
Shakespearean Tragedy

Tragedy began in ancient Greece as a type of drama and has become an important part of the literary and critical tradition in Europe and the United States. Nondramatic poetry (‘lyric tragedy’) and some novels (for example, Moby Dick) have laid claim to being tragedies, or at least to being tragic, explicated as a type of plot or as a way of seeing the world. In general, concepts of tragedy reflect the ways humans think about and try to manage some of the most important features of human life – family, moral duty, suffering, and the noble heights and barbaric depths of human experience – in an unpredictable or intractable world. Greek and Shakespearean tragedy provide two different exemplars of tragedy as a dramatic genre. The tradition inspired by the former typically emphasizes more formal constraints; French neoclassic tragedy is part of this tradition. Shakespearean tragedy, in contrast, is written partly in prose and includes comic scenes and characters who are not nobly born. Lessing and Ibsen also favoured drama that was more realistic and relevant to a bourgeois audience. Arthur Miller’s ‘Death of a Salesman’ has been the centre of much debate in the twentieth-century over the viability of the genre for modern times. The philosophy of tragedy also has two exemplars: Aristotle and G. W. F. Hegel. In the Aristotelian tradition, protagonists bring suffering as an unforeseen consequence of their actions. Hegel proposes that tragic plots essentially involve a protagonist’s struggle with conflicting duties rather than with unintended or unforeseen consequences. A persistent though not universal feature is a protagonist who comes to a catastrophic end, bringing others down in the process. In general, philosophies of tragedy have attempted to define the genre and elucidate how it depicts human action in relation to reason, morality and emotion. In what follows, I provide a glimpse of the state of the genre for a particular time or place, and then describe the main theories about its potential and purposes.

scholarly journals Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art

2019 ◽  
Vol 15 (4) ◽  
pp. 108-135
Author(s):  
Igor Svetlov
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Pop Art ◽  
Art Exhibition ◽  
Dynamic Activity ◽  
Environmental Objects ◽  
The World ◽  
Late Twentieth ◽  
The City ◽  
Late Twentieth Century

Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

scholarly journals THE SYMBOLISM OF IMRE MAKOVECH'S METAPHORICAL LANGUAGE IN THE FORMATION OF SACRED SPACE

2021 ◽  
pp. 113-122
Author(s):  
Liliia Gnatiuk
Keyword(s):  
Twentieth Century ◽  
Sacred Space ◽  
Human Life ◽  
Religious Communities ◽  
Material Object ◽  
Distinctive Features ◽  
Metaphorical Language ◽  
The World ◽  
Surrounding Landscape ◽  
The Relationship

The article analyzes the iconic temples of the twentieth century designed by the Hungarian architect Imre Makovec. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated with various types of spiritual forces, thanks to the forms of objects of the visible world, they can be strengthened or weakened. The understanding of the harmony of forms in the formation of the sacred space is presented. The architecture of sacred buildings erected according to the principle of organic architecture is considered. It is determined that the forms created by Makovech do not belong to any of the "languages" of architectural expression that have been created so far. The article presents a view on the mysterious nature of the connection of people in society – close to the types of connections that connect religious communities, as well as the concept of architecture as a bridge between heaven and earth, which also changed the approach to a building as an exclusively material object. The forms of individual sacred structures and the ways of organizing their interiors were analyzed, which made it possible to conclude that the ideas of reviving the unity of the surrounding landscape, the tendency to use local materials (primarily wood), but also a more general, philosophical attitude, allows us to consider architecture as an element that binds forces space with human life. The use of the metaphorical language of Makovech's architecture is considered based on the world of visual human products and their iconographic distinctive features. Revealed the need to take into account the relationship between certain forms and messages, through them are transmitted to the formations of the sacred space. An attempt is also presented to adapt the principles of modernism to the needs of the shaping of the sacred space. The tendencies of the formation of the sacred space in the twentieth century are revealed, namely: anthroposophical; continuation and development of Christian symbols. 

Spooner

2020 ◽  
pp. 99-129
Author(s):  
Daniel Layman
Keyword(s):  
Twentieth Century ◽  
Private Property ◽  
Human Life ◽  
A Priori ◽  
Individual Rights ◽  
Political Rights ◽  
Robert Nozick ◽  
Private Property Rights ◽  
Political Morality ◽  
The World

More than any other thinker, Lysander Spooner has a plausible claim to the title of founder of libertarianism. In his mature works, he developed the conception of Lockean rights that began to emerge in Hodgskin into a nearly anarcho-capitalist vision that would later reemerge in the philosophy of twentieth-century libertarians like Robert Nozick. But Spooner did not begin his scholarly life in quite this vein. In his early works, Spooner defends a version of liberal republicanism that has room for collective rights and is by no means anarchistic. As his career wore on, however, he began to argue that political morality is a kind of a priori natural science—or, perhaps, mathematics—of individual rights, complete and determinate in all its details and innately knowable by all who reflect on it. This conception of justice left little room for legitimate political legislation (since there is no facet of human life it does not govern on its own), let alone collective political rights. So, in the end, Spooner, more clearly than his philosophical forbear Hodgskin, developed a right-libertarian solution to Locke’s property problem. According to this solution, there is no positive common right to the world, so there is no tension between a natural common right to the world and natural private property rights.

Psychopathy as a Modus of Human Destructiveness in the Literary and Philosophical Reflection of Postmodernity (Based on the Novels "A Clockwork Orange" by A. Burgess and "The Wasp Factory" by I. Banks)

2021 ◽  
Vol 13 (4-2) ◽  
pp. 442-457
Author(s):  
Anastasia Kucherova ◽  
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Normal Component ◽  
Frankfurt School ◽  
Central Character ◽  
Antisocial Personality ◽  
The Family ◽  
The World ◽  
Science Philosophy ◽  
Genetically Determined

The sociopolitical circumstances of people's lives are constantly changing, which is studied by science, philosophy and art. The twentieth century is a time of great upheavals that changed the approach to the concept of man and the field of his existence. Philosophers of the second half of the twentieth century pay attention to the destructive nature of state power, its institutions are interpreted as suppressing freedom and consolidating violence as an ideology (the Frankfurt School, J. Baudrillard, S. Zizek, etc.). Another important concept is the interpretation of destructive impulses as a normal component of a person (J. Bataille, Z. Freud, E. Fromm, J. Deleuze, etc.). This idea creates a pattern of behavior that is considered psychopathic in the article. Psychopathy is a genetically determined type of antisocial personality. The phenomenon of psychopathy is a subject not only of scientific study, but also of art: the psychopath became a central character in many works of literature and cinema in the second half of the twentieth century. The article analyzes the novels "A Clockwork Orange" by E. Burgess (1962) and "The Wasp Factory" by I. Banks (1984), where the main characters are teenage psychopaths. The article concludes that these works complement each other, exploring two main areas of human life (the world of the state and the world of the family). It is suggested that by referring to the psychopathic hero, writers describe the changes that take place in society, these changes are also analyzed by philosophers. The fact that psychopathic traits in novels are concentrated in the images of teenagers indicates the possibility of psychopathy developing and spreading in the future.

scholarly journals This sweet word “freedom” (On the formulation of the problem of freedom in the Italian political thought of the twentieth century)

2020 ◽  
Vol 26 (3) ◽  
pp. 88-105
Author(s):  
S. Yu. Sokolova
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Social Life ◽  
Human Life ◽  
Religious Consciousness ◽  
The Soviet Union ◽  
Political Forces ◽  
The World ◽  
In The Beginning ◽  
Statistical Laws

People from century to century tried to determine the degree of its independence from external circumstances. And every time he found himself in front of a fact that changed the world raises the question of freedom in new ways. All the historically important battles of the twentieth century can be reduced to a confrontation over what it means to be free. The rationalistic understanding of human life that prevailed in the previous few centuries gave rise to the illusion that the world can be well organized if its structure is properly explained. Practice has shown that not everything is so simple and a rationalistic approach that suggests considering freedom as a known necessity does not allow us to liberate and make humanity happy. The statistical laws prevailing in society give rise to so many manifestations of necessity that it sometimes occurs to us that there is nothing in social life but chance. The collapse of the Soviet Union, and the usual gap relationships and the imbalance of social and political forces have forced the Europeans to search for ways to preserve their own cultural identity. Violation of ideological balance as a result of the falling interest of people towards communism creates a situation in which only the religious consciousness can become a pillar of modern embarrassed man. However, in this circumstance, there is another side: the flight into the illusory world of thoughts, in the area of supposed freedom. Today in the beginning of the third Millennium, we have to admit that so far from the final solution to the problem of freedom as thinkers of the past centuries.

Theocritus' Adoniazusae

1995 ◽  
Vol 42 (2) ◽  
pp. 152-158
Author(s):  
Malcolm Davies
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Way Of Life ◽  
Ancient Greek ◽  
Greek Poetry ◽  
The World ◽  
Late Twentieth ◽  
Hellenistic Poetry ◽  
Role Of Religion

Theocritus' poem on the women celebrating the festival of Adonis (Idyll 15) has received surprisingly little attention over the years, especially when compared with other Theocritean Idylls of like length. Matthew Arnold's notorious rhapsody (‘a page torn fresh out of the book of human life. What freedom! What animation! What gaiety! What naturalness! … When such is Greek poetry of the decadence, what must be Greek poetry of the prime?’) has perhaps done more harm than good, by focusing attention too exclusively on the first hundred lines or so of the poem (and indeed Arnold himself was of the opinion that the hymn to Adonis at vv. 100ff. contains ‘of religious emotion, in our acceptation of the words, and of the comfort springing from religious emotion, not a particle’). And yet the poem is second only to Euripides' Bacchae as a document revealing the ways in which religion in the ancient Greek world could offer women an escape (however temporary) from the drab banalities of their everyday existence. And the central contrast between the eternal and idealized glamour of the world of myth and the time-bound existence of Praxinoa and Gorgo (a contrast which is crucial for the above-mentioned role of religion) is absolutely characteristic of one essential aspect of Hellenistic poetry, an aspect that looks back to the world of Euripides and forward to that of Roman poets like Catullus or Propertius. In this paper I shall examine both these features of the Idyll. Also, inspired by those scholars who have illuminated facets of the Dionysiac religion by adducing comparable (if secular) twentieth-century material, I shall try to achieve something similar for Theocritus' poem by drawing on comparative material from late twentieth-century Japan relating to a phenomenon that allows Japanese housewives temporary escape from a tedious and restricted way of life.

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