Konsep Cahaya dalam Al-Qur’an

2020 ◽  
Vol 11 (2) ◽  
pp. 293-304
Author(s):  
Dyah Nurul Azizah
Keyword(s):  
Semantic Analysis ◽  
World View ◽  
Semantic Theory ◽  
Familiar Word ◽  
Plural Form ◽  
Analysis Process ◽  
Singular Form ◽  
The World ◽  
The One ◽  
Contextual Meaning

An-Nur in the Qur’an is a familiar word. It was mentioned in many verses withdifferent context. An-Nur in each verse has a different meaning, then need to adeep understanding. The purpose of this study is to know the real meaning fromAn-Nur in the Qur’an use a semantic theory. Semantic of Al-Qur’an is an attemptto reveal the world view of Qur’an on some terms and vocabularies in Qur’anthrough a semantic analysis. The analysis process begins from research a basicmeaning and contextual meaning of An-Nur with some verses. The conclusions ofthis study is that the word Án-Nur in the Qur’an has three categories; 1) An-Nuras something to fight digression, 2) An-Nur as the religion from God, and 3) Godas An-Nur or the Highest Level of An-Nur. The word An-Nur in the Qu’an isalways mentioned in singular form, while the darkness (opposite) is alwaysmentioned in plural form. That shows there are many dark or bad things, such asa various kinds of immorality, but it will be defeated with the one of the light (An-Nur). God as the Highest Light, Eternal, True, and Everything

scholarly journals FOREST IN THE BASHKIRS' VIEW OF THE WORLD

2022 ◽  
pp. 33-40
Author(s):  
Ю. А. Абсалямова
Keyword(s):  
World View ◽  
Construction Materials ◽  
The Other ◽  
Aesthetic Perception ◽  
Food Protection ◽  
Other Hand ◽  
The World ◽  
Other World ◽  
The One ◽  
The Relationship

В статье анализируются особенности восприятия лесного пространства башкирами. На основе языковых, фольклорных материалов сделана попытка раскрыть различные аспекты взаимоотношений лес - человек, образ леса в картине мира башкир. Как и в большинстве традиционных культур, в целом мифологический образ леса носит отрицательный характер. В фольклоре он часто описывается как тёмный, мрачный, неизвестный, таящий опасности, противопоставляясь обжитому и освоенному пространству селений. Лесной пандемониум также представлен в основном отрицательными персонажами. В целом образ леса в традиционной картине мира башкир предстаёт довольно неоднозначным. С одной стороны - это категория, связанная с потусторонним миром, неизведанная, «чужая» территория. С другой - лес издавна являлся источником различных благ - в виде строительного материала, пушнины, различных продуктов питания, укрывал от врагов. The article analyzes the features of Bashkirs' perception of the forest space. On the basis of the materials of the epos, folklore, folk ideas, an attempt was made to reveal the various aspects of the relationship between forest and man, the image of the forest in Bashkirs' world view. As in most traditional cultures, the mythological image of the forest as a whole is negative. In folklore, it is often described as dark, gloomy, unknown, fraught with danger, being contrasted with the inhabited and developed space of the villages. The forest pandemonium is also represented mainly by negative characters. On the other hand, in the domestic perception forest is valued for the benefits derived from it: shelter, food, protection from enemies. In addition, Bashkirs, distinguished by a developed aesthetic perception and contemplative thinking, appreciated its beauty, which is also reflected in folklore. In general, the image of forest in the Bashkirs' traditional view of the world appears rather ambiguous. On the one hand, it is the category associated with the other world, unknown, «foreign» territory. On the other hand, the forest has long been a source of various benefits - in the form of construction materials, furs, various food products, and it sheltered them from enemies.

scholarly journals Pluralia tantum nouns and nouns, mostly used in the plural form, in modern Russian

2018 ◽  
Vol 215 (1) ◽  
pp. 159-176
Author(s):  
Dr. Ahmed Hamid Shalyan
Keyword(s):  
Economic Reforms ◽  
Russian Language ◽  
The Other ◽  
New Words ◽  
Lexical Semantic ◽  
Plural Form ◽  
The World ◽  
Lexical Composition ◽  
The One ◽  
Modern Russian

This study focuses on monitoring the development in the lexical composition of the modern Russian language lexical-semantic digits pluraliatantum nouns and nouns, mostly used in the plural form. The material of the study used the book "Dictionary of new words." During the analysis it was found that the process of appearance of words and pluraliatantum nouns, is used mainly in the form of plural. numbers can be considered active and continuous, on the one hand, characterizes the category of plural nouns in the structure as a strong, mnogoznamenatelnuyu category, on the other hand, once again convinces us of the inseparable, mutually connection of language and society. Political and economic reforms in Russia, have occurred in recent decades, the expansion of ties in all areas with other countries of the world are reflected in the lexical composition of these units, their semantics and education

scholarly journals Zarathustra’s dance: Nietzsche’s creative aesthetic

KÜLÖNBSÉG ◽  
2013 ◽  
Vol 13 (1) ◽  
Author(s):  
Erzsébet Lamár
Keyword(s):  
Language Use ◽  
World View ◽  
Way Of Life ◽  
Eternal Return ◽  
Ascetic Ideal ◽  
The World ◽  
Metaphysics Of Presence ◽  
The One ◽  
The Individual ◽  
New View

Nietzsche criticized the tradition of Western metaphysics (based on the principle of representation, the duality of subject and object of representation, the metaphysics of presence as Derrida puts it) and its language use. In place of this he presents a world view he calls Dionysian: it is a possibility of cognition in which the individual disappears and the tragic subject is merged with archaic substance in an experience that eliminates the dualism of appearance and reality. Nietzsche claims there is a basic tension between life and cognition in Western metaphysics, but this is a symptom of the ascetic ideal which manifests itself in illness and in wanting nothing. Instead the ascetic ideal a new kind of sensibility is necessary which affirms life and gives rise to a new view of the world and to new values. Deleuze claims Nietzsche’s philosophy has three basic tenets: evaluation, affirmation, and the superman as a new way of life. He adds that “Nietzsche attributes such importance to art because art has already achieved the whole program.” The paper shows that Nietzsche’s aesthetics is a creative aesthetic, a selective ontology based on the principle of double affirmation. The paper argues that Dionysus is the one who returns to Nietzsche eternally, and together with him haunts the idea of creative aesthetics, a key element of the idea of eternal return.

Semantics of the Qur’anic Weltanschauung

2009 ◽  
Vol 26 (4) ◽  
pp. 1-23
Author(s):  
Abdul Kabir Hussain Solihu
Keyword(s):  
Analytical Study ◽  
Semantic Analysis ◽  
Semantic Theory ◽  
Linguistic Relativity ◽  
Semantic Approach ◽  
Semantic Fields ◽  
The World ◽  
Key Concepts ◽  
Theological Perspective ◽  
Speakers Of Other Languages

This paper examines the structural semantic approach based on the theory of linguistic relativity to scriptural language as exemplified in Toshihiko Izutsu’s studies of the Qur’anic weltanschauung. According to this theory, each language contains a particular worldview that causes its speakers to view the world in a way different from the speakers of other languages. By an analytical study of the semantic fields and contextual use of the Qur’an’s key conceptual terms, Izutsu explores the semantic factors believed to have been employed by the Qur’an in its Islamization of the jahili (pre-Islamic Arab) worldview. Such an approach exhibits that the Qur’an’s linguistic vision of reality is internally coherent but culturally and historically conditioned. Following a textual analysis, this study critically examines, from both an ethical and a theological perspective, the semantic theory that Izutsu applies to the Qur’an’s key concepts in his two works: God and Man in the Qur’an and Ethico-Religious Concepts in the Qur’an. The objective is to investigate the extent to which semantic analysis could enrich our understanding of the ontological problems raised in the Qur’an.

Diplomacy of Contempt: The French Consuls and the Mandarins in Nineteenth-Century China

1992 ◽  
Vol 26 (2) ◽  
pp. 363-394 ◽  
Author(s):  
Raphael Israeli
Keyword(s):  
Nineteenth Century ◽  
World View ◽  
The Other ◽  
Other Hand ◽  
Daunting Task ◽  
The World ◽  
The One ◽  
Opening Up

In the process of opening up China, the French representatives, like their other Western counterparts, came into contact with the Chinese mandarins who represented a culture and world view that were almost totally foreign to them. Part of the daunting task of preservin their country's glory and pursuing its interests, was to try and comprehend the world they were attempting to engage. They arrived in China with an intellectual luggage replete with stereotypes and misconceptions about the Chinese, on the one hand, and on the other hand they were committed to their mission civilisatrice in China which was to help the Chinese save themselves from themselves.

scholarly journals ANALISIS SEMANTIK KATA ZAWJ DALAM AL-QUR’AN

2018 ◽  
Vol 4 (2) ◽  
pp. 55-80
Author(s):  
Marjiatun Hujaz ◽  
Nur Huda ◽  
Syihabudin Qalyubi
Keyword(s):  
Qualitative Research ◽  
Semantic Analysis ◽  
World View ◽  
Descriptive Analysis ◽  
Analysis Method ◽  
Men And Women ◽  
Male And Female ◽  
Basic Meaning ◽  
The World ◽  
Key Terms

This study aims to examines the meaning of zawj in al-Qur'an. This research is a qualitative research using descriptive-analysis method. Descriptive-analysis method aims to analyze the zawj’ word in the Qur'an. The meaning of zawj in the Qur'an is very vareative. In the Koran with various derivations, the word zawj is 21 derivations contained in 72 verses of 43 surahs and is mentioned in 81 times. The researcher used the semantic analysis of al-Qur'an which was initiated by Toshihiko Izutsu who tried to address the world view of Qu'ran (weltanschauung) through semantic analysis of the vocabulary and key terms in the Qur’an. This research concludes that the basic meaning of the word zawj is something that is not singular or something that has an equivalent. Zawj can be interpreted as: a husband in the surah (al-Mujādalah [58]: 1;wife in the surah (al-Baqarah [2]: 35; a partner, namely Allah created all beings in pairs (az-Dzariyat [51]: 49;animals are male and female pairs (al-An'ām [6]: 143), plants (al-Syu'arā [367]: 7); and groups (al-Wāqi'ah [56]: 7. In the pre- Qur'anic, the word zawj is defined as a rug. In the Qur'anic period it is divided into two, namely Mecca and Medina. The Mecca period has a close meaning with the sign of the greatness of Allah and the pleasure that Allah gives. The Medina period contains the laws of separation. In the post-Qur'anic period, the word zawj describes gender equality, that men and women are the same components without being differentiated, so that there is a harmonious life in pairs. Keywords :Diachronic, Izutsu,Semantic, Synchronic, Zawj.

scholarly journals LA NOCIÓN DE PERSONA Y EL CONCEPTO DE IXTLAMATKI EN LA VISIÓN DEL MUNDO DE LOS NAHUAS DE LA SIERRA NEGRA DE PUEBLA

2007 ◽  
Vol 2 (4) ◽  
Author(s):  
Laura Romero
Keyword(s):  
World View ◽  
The Other ◽  
Human Being ◽  
The World ◽  
San Sebastian ◽  
Human World ◽  
Other World ◽  
The One ◽  
Alter Ego ◽  
Sierra Negra

En la cosmovisión de los nahuas de San Sebastián Tlacotepec, municipio perteneciente a la Sierra Negra de Puebla, la noción de persona es uno de los ejes vertebrales para entender la forma en que es concebido elixtlamatki, el que sabe ver, especialista ritual encargado de los problemas de salud originados por la pérdida del alma, el daño al animal compañero y la brujería. A partir del análisis de los atributos otorgados al ixtlamatki, mismos que lo definen como un ser humano “especial”, podemos entender su función como intermediario entre el mundo humano y el “mundo-otro”, sus capacidades como “recuperador” de almas, su capacidad de transformarse en animal, la fortaleza de sus entidades anímicas y su facultad de actuar a voluntad durante sus sueños.   ABSTRACT In the world view of the nahua population of San Sebastian Tlacotepec, a village localized in the region denominated Sierra Negra in the state of Puebla, the “notion of person” is one of the principals elements necessary to understand the concept of ixtlamatki, “ the one who knows how to see”, ritual specialist in charge of health problems en cases like loss of soul, witchcraft or when the alter ego has been hurt. Beginning with the analysis of his attributes, which define him as special human being, we come closer to understand his function as intermediary between the human world and the “other world”; his power as “soul retriever” and other special abilities, for example, his capacity of transforming himself as well as his faculty to act intentionally in his dreams.

scholarly journals FOREST IN THE BASHKIRS' VIEW OF THE WORLD

2022 ◽  
pp. 33-40
Author(s):  
Ю. А. Абсалямова
Keyword(s):  
World View ◽  
Construction Materials ◽  
The Other ◽  
Aesthetic Perception ◽  
Food Protection ◽  
Other Hand ◽  
The World ◽  
Other World ◽  
The One ◽  
The Relationship

В статье анализируются особенности восприятия лесного пространства башкирами. На основе языковых, фольклорных материалов сделана попытка раскрыть различные аспекты взаимоотношений лес - человек, образ леса в картине мира башкир. Как и в большинстве традиционных культур, в целом мифологический образ леса носит отрицательный характер. В фольклоре он часто описывается как тёмный, мрачный, неизвестный, таящий опасности, противопоставляясь обжитому и освоенному пространству селений. Лесной пандемониум также представлен в основном отрицательными персонажами. В целом образ леса в традиционной картине мира башкир предстаёт довольно неоднозначным. С одной стороны - это категория, связанная с потусторонним миром, неизведанная, «чужая» территория. С другой - лес издавна являлся источником различных благ - в виде строительного материала, пушнины, различных продуктов питания, укрывал от врагов. The article analyzes the features of Bashkirs' perception of the forest space. On the basis of the materials of the epos, folklore, folk ideas, an attempt was made to reveal the various aspects of the relationship between forest and man, the image of the forest in Bashkirs' world view. As in most traditional cultures, the mythological image of the forest as a whole is negative. In folklore, it is often described as dark, gloomy, unknown, fraught with danger, being contrasted with the inhabited and developed space of the villages. The forest pandemonium is also represented mainly by negative characters. On the other hand, in the domestic perception forest is valued for the benefits derived from it: shelter, food, protection from enemies. In addition, Bashkirs, distinguished by a developed aesthetic perception and contemplative thinking, appreciated its beauty, which is also reflected in folklore. In general, the image of forest in the Bashkirs' traditional view of the world appears rather ambiguous. On the one hand, it is the category associated with the other world, unknown, «foreign» territory. On the other hand, the forest has long been a source of various benefits - in the form of construction materials, furs, various food products, and it sheltered them from enemies.

scholarly journals “The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

2019 ◽  
Vol 52 (52) ◽  
pp. 53-70
Author(s):  
Duangui Wang
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Semantic Analysis ◽  
World View ◽  
Compositional Approach ◽  
The World ◽  
Poetic Text ◽  
The Individual ◽  
The Ancient Chinese ◽  
First Time

Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.

Religious Studies as a Science and Educational Discipline in Ukraine

2005 ◽  
pp. 108-117
Author(s):  
Liudmyla O. Fylypovych
Keyword(s):  
World View ◽  
Religious Studies ◽  
Educational Process ◽  
Models Of Teaching ◽  
Teaching Community ◽  
The World ◽  
Science Of Religion ◽  
The One ◽  
Foreign Science ◽  
Scientific Atheism

Ukrainian religious studies has recently entered the world scientific community and the educational process. Along the way, many difficulties awaited him. First, it was necessary to determine the content, structure, representation of Ukrainian religious studies, to navigate the world of foreign science of religion, in the existing teaching methods. Secondly, to outline the forms of entry of Ukrainian religious studies into the international scientific and teaching community. Acquaintance with Western science, which proved to be heterogeneous, based on various methodological approaches and methodological means, coincided with difficult internal transformations that underwent all humanitarian knowledge in Ukraine after world-view and political changes in society. In pursuit of its identity, domestic religious studies went, on the one hand, by contrasting itself with theology, and on the other, by actively distinguishing itself from so-called scientific atheism. As a result of these processes, domestic religious studies was eventually constituted as a coherent, structured science of religion, seeking to develop its own models of teaching religious studies.

Sign in / Sign up

Export Citation Format

Share Document