scholarly journals Walter Benjamin: Analysis of the Concept of Adam State

2021 ◽  
Vol 3 (3) ◽  
pp. 129-133
Author(s):  
Yu Xie
Keyword(s):  
Philosophy Of Language ◽  
Walter Benjamin ◽  
Human Beings ◽  
Garden Of Eden ◽  
Theological Thinking ◽  
Secular State

This paper attempts to provide an explanation about the concept of “Adam’s state” put forward by Walter Benjamin according to his theological thinking. Adam’s state is divided into Adam’s paradise state in the garden of Eden and Adam’s secular state after his fall. As the origin of human beings, paradise state is a harmonious, unified and perfect heaven state. The secular state is the broken exile life of mankind after Adam’s fall. The paradise state is the metaphysical basis of Benjamin’s philosophy of language, while the secular state is the background where Benjamin’s philosophy presents the fragmentary characteristics and points to the doctrine of redemption. Benjamin’s Adam state is not only an important content of Benjamin’s theology, but also one of the important logical dark lines of Benjamin’s thought. 

scholarly journals Language Acquisition in the Light of Rationalist Philosophy of Mind and Philosophy of Language

2016 ◽  
Vol 48 (1) ◽  
pp. 303-315
Author(s):  
Halina Święczkowska ◽  
Beata Piecychna
Keyword(s):  
Language Acquisition ◽  
Philosophy Of Mind ◽  
Cognitive Abilities ◽  
Philosophy Of Language ◽  
17Th Century ◽  
Human Beings ◽  
Speech Acquisition ◽  
The Way

Abstract The present study deals with the problem of the acquisition of language in children in the light of rationalist philosophy of mind and philosophy of language. The main objective of the paper is to present the way Gerauld de Cordemoy’s views on the nature of language, including its socio-linguistic aspects, and on the process of speech acquisition in children are reflected in contemporary writings on how people communicate with each other. Reflections on 17th-century rationalist philosophy of mind and the latest research conducted within the field of cognitive abilities of human beings indicate that between those two spheres many similarities could be discerned in terms of particular stages of the development of speech and its physical aspects.

scholarly journals The Impossible Spaces: A Commentary on Gen. 2:8–15

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 656
Author(s):  
Santiago García-Jalón
Keyword(s):  
Biblical Text ◽  
Human Beings ◽  
Garden Of Eden ◽  
The Bible ◽  
Narrative Device ◽  
Close Analysis ◽  
Structural Differences

A close analysis of the text of Gen. 2:8–15, pertaining to the Garden of Eden, shows the structural differences between said text and others from ancient mythologies that mention or describe a paradise. Likewise, that analysis suggests that the data provided by the Bible to locate paradise are merely a narrative device meant to dissipate all doubts as to the existence of a garden where God put human beings. Similar to other spaces that appear in the Bible, the Garden of Eden is, in fact, an impossible place. Throughout the centuries, however, recurring proposals have been made to locate paradise. As time went by, those proposals were progressively modified by the intellectual ideas dominant in any given era, thus leading the representations of the location of Paradise to be further and further away from the information provided by the biblical text.

scholarly journals MUST THEISTS BELIEVE IN A PERSONAL GOD?

Think ◽  
2009 ◽  
Vol 8 (23) ◽  
pp. 77-86
Author(s):  
Elizabeth Burns
Keyword(s):  
New Testament ◽  
Old Testament ◽  
Hebrew Bible ◽  
Human Beings ◽  
Garden Of Eden ◽  
The New Testament ◽  
Genesis 3

The claim that God is a person or personal is, perhaps, one of the most fundamental claims which religious believers make about God. In Hinduism, Brahma, Vishnu and Shiva are represented in person-like form. In the Hebrew Bible/Old Testament God walks in the Garden of Eden (Genesis 3:8), experiences emotions (e.g. Isaiah 61:8), and converses with human beings (e.g. Job 38–41). In the New Testament, God communicates with his people, usually by means of angels or visions (e.g. Matthew 1:20–21), and retains the ability to speak audibly, as he does to Paul on the Damascus road (Acts 9:4–6). And, in the Qur'an, Allah is said to have a face and two hands (e.g. Qur'an 38:75), to see, and to sit on a throne (e.g. Qur'an 57:4). Many believers today would still claim that, among other things which God can do, he loves those who believe in him (e.g. Ephesians 5:29; I Peter 5:7; Qur'an 1:3) and responds to their prayers (e.g. Matthew 7:7–8; Mark 11:24; Qur'an 11:61).

scholarly journals The Impossible Spaces

2021 ◽  
Author(s):  
Santiago García-Jalón
Keyword(s):  
Biblical Text ◽  
Human Beings ◽  
Garden Of Eden ◽  
The Bible ◽  
Narrative Device ◽  
Close Analysis ◽  
Structural Differences

A close analysis of the text of Gen. 2:8-15, pertaining to the garden of Eden, shows the structural differences between said text and others from ancient mythologies that mention or describe a paradise. Likewise, that analysis suggests that the data provided by the Bible to locate paradise is merely a narrative device meant to dissipate all doubts as to the existence of the garden where God put human beings. Similarly to other spaces that appear in the Bible, the garden of Eden is but an impossible place. Throughout the centuries, however, recurring proposals have been made that aim to find paradise. As time went by, those proposals were progressively modified by the intellectual ideas dominant at any given era, thus leading the representations of the location of Paradise further and further away from the information provided by the biblical text.

scholarly journals Angelic Dynamism: Humanity in Paul Klee’s Drawing Series of 1939–1940

2021 ◽  
Vol 11 (3) ◽  
pp. 512-531
Author(s):  
Sergey P. Purgin ◽  
Keyword(s):  
Walter Benjamin ◽  
Human Life ◽  
Time History ◽  
Main Theme ◽  
Human Beings ◽  
Temporal Dimension ◽  
Artistic Style ◽  
European Tradition ◽  
The Moment ◽  
The Universe

Since Walter Benjamin in “The Theses on the Philosophy of History” showcased Paul Klee’s angels, they remain mysterious figures that represent time, history or soul. The article focuses on the series of drawings that were created in the artist’s later period (1939−1940). The series can be regarded as the artist’s final will and testament as it expresses Klee’s condensed philosophy and mature views on man’s place in the universe. It also reflects the master’s cherished artistic methods and techniques, consistently honed in on during the course of his life. The author studies the relations within the series and the series relation to other artworks by Klee. It is demonstrated that it is humankind that is the main theme of the series. By contrasting human and angelic forms in his drawings Klee reinvigorates the European tradition of defining humanity through its relation to angelic orders and through its position on the hierarchy of creation. However, Klee strives to re-imagine the universe as a whole, for him it is not the ladder of perfections, which rises to angels and God. Therefore, the relations between human and angelic creatures are intimately familial rather than hierarchical. The author highlights that the artistic style and techniques emphasize visual dynamic and form creation (“formation”). In depicting angels, the artist brings forth his concern with temporal dimension of human nature and its significance in human life. Thus, in this dynamic interrelation, human beings become “angelic grotesque” with their own ontic temporality. This temporality specific to human creatures is defined as the “moment that transcends itself ” — since the latter is essentially “ecstatic” and “self-propelling”.

scholarly journals Pyotr Chardynin’s The Idiot as a Phenomenon of Creative Reinterpretation of Dostoevsky’s Novel

2019 ◽  
Vol 11 (4) ◽  
pp. 34-42
Author(s):  
Anastasia Ryabokon’
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Human Beings ◽  
National Cinema ◽  
Garden Of Eden ◽  
Human Personality ◽  
The World ◽  
The One ◽  
The Individual ◽  
Main Protagonist

The essay explores the artistic and expressive features of the world's first film adaptation of Dostoevsky's novel The Idiot, directed in 1910 by Pyotr Chardynin. The author substantiates the degree of influence of one of the most important philosophical concepts of the novel that of a split in the human personality on Russian national consciousness at the beginning of the 20th century. The analysis of the figurative system of the film shows that its semantics and the images of its characters were ahead of its time and, therefore, deserve closer critical attention.In the The Idiot the idea of Dostoevsky about a human beings separateness in the world is revealed in the four main characters Prince Myshkin, Parfyon Rogozhin, Nastasya Filippovna and Aglaya who are not complete, full-fledged personalities but separate components of a harmonious human personality. These characters, like puzzle pieces, possess mutually complementary qualities. Thus, Prince Myshkin, the bearer of the highest spirituality, is contrasted with the earthly and passionate Rogozhin. And the images of Nastasya Filippovna and Aglaya are connected, respectively, with the images of Heavenly Love and Earthly Love. If the characters of the novel could unite with each other in love and harmony, the world would get a complete harmonious person, like the one created by God for the Garden of Eden. However, such a merger seems impossible within the limits of earthly existence. In Dostoevsky's novel the individual parts of the soul could not unite into a harmonious whole. Egoism, passion, pride and imperfection of human nature do allow the protagonists to unite and lead them towards personal disintegration.In Russian national cinema, Dostoevskys idea of human beings separateness undergoes a number of transformations. The changes introduced by Pyotr Chardynin into the film adaptation of the novel mostly relate to the image of the films main protagonist Nastasya Filippovna, whom the filmmaker associates with a dying Russia. Chardynin also transforms other protagonists. Prince Myshkin is the only carrier of the highest spirituality, while Nastasya Filippovna, Aglaya and Rogozhin are earthly and passionate. At the end of the film, Nastasya Filippovnas murderer Rogozhin, dressed in a Russian folk costume, sobs at the bedside of the dead tsarina, while heavenly prince Myshkin who was not accepted by her in her lifetime, comforts the sinner. Chardynins film transforms the idea of a split in the human personality into the idea of the Russian separateness from God, the internal split within the Russian world and, as a consequence, that worlds inevitable death.

La mímesis como lógica del recuerdo: una lectura sobre la noción de «imagen dialéctica» en la obra de Walter Benjamin desde una perspectiva warburguiana

2010 ◽  
Vol 16 ◽  
Author(s):  
Florencia Abadi
Keyword(s):  
Philosophy Of Language ◽  
Walter Benjamin ◽  
Main Topic ◽  
Late Work ◽  
Dialectical Image ◽  
Intimate Connection

ResumenEl trabajo investiga la relación entre las nociones de «imagen dialéctica» [dialektisches Bild] y de recuerdo [Erinnerung] en la obra tardía de Walter Benjamin. Parte de la hipótesis de que, para comprender dicho vínculo, es necesario recurrir a la categoría de «mímesis» como mediación entre ellas. El abordaje de la mímesis busca recuperar su íntima relación con lo figurativo y la experiencia sensible, relegada frente al énfasis que los estudios sobre el tema han puesto en la filosofía del lenguaje. Con este objetivo, se indaga el diálogo velado de Benjamin con la tradición warburguiana, cuyo tema central es la imagen.Palabras claveBenjamin, Warburg, imagen dialéctica, recuerdo, mímesisAbstractIn this paper we research the connection between the concepts of «dialectical image» and «memory» in Walter Benjamin’s late work. We start from the hypothesis that, in order to understand this relationship, it is necessary to turn to the notion of «mimesis» as a link betweenthem. We draw attention to the intimate connection of mimesis with the figurative and sensible experience, generally left out by the studies that emphasize its relationship with the philosophy of language. To reach our aim we investigate the veiled dialogue between Benjamin and the Warburgian tradition, whose main topic is the image.KeywordsBenjamin, Warburg, dialectical image, memory, m

The Study of Logic and Language in England in the Early 17th Century

1976 ◽  
Vol 3 (2) ◽  
pp. 179-201 ◽  
Author(s):  
John A. Trentman
Keyword(s):  
Seventeenth Century ◽  
Philosophy Of Language ◽  
17Th Century ◽  
Formal Logic ◽  
Philosophy Of Logic ◽  
Human Beings ◽  
Primary Interest ◽  
Medieval Philosophy ◽  
Relative Lack ◽  
National Languages

Summary Round the turn of the seventeenth century there was a revival of interest in and sympathy for scholastic and Aristotelian philosophy in the English universities. To some extent this meant a continuation of traditions that had never died out, but it also meant a conscious rejection of anti-Aristotelian doctrines like those of Ramus. Fortunately, we have good contemporary evidence of the sorts of authors recommended for study in the early 17th century in the Directions for a Student in the Universitie, attributed to Richard Holdsworth (1590–1649). Here we find a remarkable proportion of time given to the study of logic texts. An examination of the texts recommended, however, shows that they attempted little formal logic and were careless in what they did attempt. The primary interest of the authors of these books was in the philosophy of logic and language and in related epistemological and metaphysical questions. In this they show, if not the influence of Ramus, at least a parallel emphasis to that of some of the philosophies they rejected. Their philosophy of language is generally thoughtfully and coherently worked out, but it is not original. Indeed, it closely follows the doctrines of the medieval logicians and speculative grammarians, which philosophical doctrines can be identified with the principles delineated by Chomsky as characteristic of so-called Cartesian linguistics. The preservation of medieval philosophy of language combined with a relative lack of interest in medieval formal logic, however, has the effect of sharpening the emphasis in these works on what is innate in human beings and their use of language. This shift of interest rather than any real doctrinal change tends to distinguish these works from those of their medieval predecessors. In Edward Brerewood’s (c. 1565–1613) treatise on the diversity of languages (1614) we see these same philosophical doctrines combined with an interest that was new and not medieval, an interest in the historical and, in its way, empirical study of national languages themselves.

scholarly journals Existir nas semelhanças / To Exist in the Similarities

2020 ◽  
Vol 15 (2) ◽  
pp. 199
Author(s):  
Rafael Tomelin
Keyword(s):  
Philosophy Of Language ◽  
Walter Benjamin ◽  
Careful Analysis ◽  
Book Of Genesis ◽  
The Universe ◽  
Different Levels

Resumo: Partindo da análise minuciosa de dois textos de Walter Benjamin, “Doutrina das semelhanças” e “Sobre a faculdade mimética”, este trabalho visa mostrar a proposição para uma filosofia da linguagem que vinha sendo pensada desde “Sobre a linguagem em geral e a linguagem humana”. Neste, começa a ser apresentada uma ideia de linguagem mágica, advinda do livro do Gênesis e do sopro divino, de onde se diferenciam a linguagem divina, que nomeia para conhecer, humana, que conhece e depois nomeia, da linguagem das coisas, que é muda e imperfeita. Pensa-se na faculdade mimética como algo que, nos povos primitivos, dizia respeito às correspondências mágicas entre linguagem e o universo, e que, na modernidade, corresponde à decaída no arquivo de semelhanças não-sensíveis, e, por fim, à incapacidade de nos tornarmos semelhantes.Palavras-chave: semelhanças; correspondências; decadência; constelações; mimese.Abstract: Starting from a careful analysis of two texts by Walter Benjamin, “Doctrine of the Similar” and “On the Mimetic Faculty”, this paper aims to show the proposition for a philosophy of language that has been thought by Walter Benjamin since “On Language as Such and on the Language of Man”. The beginning of this philosophy of language comes from the book of Genesis and from the divine breath of life. There are three different levels of language, the divine that names to know, the human that knows and then names, and the language of things that is mute and imperfect. The mimetic faculty is thought of as something which, in primitive peoples, was related to the magical correspondences between language and the universe, and which, in modernity, corresponds to the human decay into the archive of nonsensitive similarities, and, finally, to our inability to become similar.Keywords: similitudes; correspondences; decadence; constellations; mimesis.

scholarly journals The Naturalist in the Garden of Eden: Science and Colonial Landscape in Jem Poster'sRifling Paradise

2016 ◽  
Vol 6 (2) ◽  
pp. 112-130
Author(s):  
Mariadele Boccardi
Keyword(s):  
Natural History ◽  
Ecological Approach ◽  
Close Reading ◽  
Human Beings ◽  
Garden Of Eden ◽  
Victorian Fiction ◽  
Critical Tradition ◽  
Imperial Expansion ◽  
The Relationship

This essay seeks to supplement an established critical tradition that reads natural history in neo-Victorian fiction from a postmodern and largely de-politicised perspective. I argue that the figure of the naturalist can be used to revisit natural history's complicity with imperial expansion, both in its practice and in its discursive framework. By means of a close reading of Jem Poster's Rifling Paradise (2006), I explore the ways in which natural history gives way to an ecological approach to the colonial landscape, pointing to a possible – though still problematic – alternative to a scientific (exploitative, colonial) understanding of the relationship between nature and human beings.

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