‘My astrological friend’

Introduction: the article contains the analysis of the unique features of Volodimir Zelensky’s presidential election campaign, the success of which is based on the image of a political leader deliberately built as totally different from the one traditional for the Ukraine’s political elite. Objectives: studying the main political trends in presidential campaigns of Volodimir Zelensky and Donald Trump, to identify common elements of their image-building strategies. Methods: comparative analysis. Results: the study verifies the effectiveness of building the counter-culture image of a political leader in the conditions of high levels of political cynicism and citizens’ distrust to their government. Conclusions: the tactics used by Donald Trump and Volodimir Zelensky during the 2016 US elections and 2019 Ukrainian elections respectively are similar at their core. The difference manifests itself in the types of political images used, as formed with respect to the candidates’ previous careers.

An Empirical Study of Religious Mysticism

The British Journal of Psychiatry ◽

10.1192/bjp.118.546.549 ◽

1971 ◽

Vol 118 (546) ◽

pp. 549-554 ◽

Cited By ~ 4

Author(s):

Basil Douglas-Smith

Keyword(s):

Empirical Study ◽

Sensory Perception ◽

Thomas Aquinas ◽

Ultimate Reality ◽

Direct Experience ◽

Direct Awareness ◽

The One ◽

Tintern Abbey ◽

Awareness Of God ◽

Nature Mysticism

Religions mysticism (hereinafter referred to as R.M.) is defined as (alleged) direct experience of ultimate reality seen as personal or hyper-personal. It may take any one of three forms: nature mysticism, theistic mysticism, and monist mysticism. In nature mysticism, the percipient feels the whole of Nature, including man, to be pervaded and directed by Mind (the capital letters are used deliberately). Wordsworth's Prelude and Tintern Abbey provide classical examples. In theistic mysticism, the percipient feels himself to be aware of the God of religion in a purely spiritual manner, which in respect of its immediacy is felt to be analogous to sensory perception. Thomas Aquinas, in fact, defines this kind of experience as ‘direct awareness of God, analogous to sensory perception.’ In monist mysticism, the percipient feels himself to be the One-and-Only Mind. The Yogi mystic, Swami Vivekananda, provides the classical example of this latter type of experience, proclaiming ‘I am the Blissful One’.

Daniel Bensaïd, Melancholic Strategist

Historical Materialism ◽

10.1163/1569206x-12341500 ◽

2016 ◽

Vol 24 (4) ◽

pp. 51-106 ◽

Cited By ~ 3

Author(s):

Josep Maria Antentas

Keyword(s):

The Other ◽

Political Strategy ◽

Political Commitment ◽

Joan Of Arc ◽

Strategic Reading ◽

Uncertain Outcome ◽

Pascal’S Wager ◽

Extensive Body ◽

The One ◽

Che Guevara

Daniel Bensaïd was a Marxist philosopher and author of an extensive body of works about political strategy. His writings combine a diversity of singular influences, such as Marx, Lenin, Trotsky and Che Guevara on the one hand, and Benjamin, Péguy and Blanqui on the other. In his work, religious heresies, Marranos, moles and emblematic figures of the resistance to oppression such as Joan of Arc meet with the classic figures of Marxism. The non-linear concept of time and messianic reason support a strategic reading of history and an understanding of political commitment, following Goldmann’s interpretation of Pascal’s Wager as a wager of uncertain outcome.

The Rules of Common School Grammars

PMLA ◽

10.2307/457587 ◽

1927 ◽

Vol 42 (1) ◽

pp. 221-237 ◽

Cited By ~ 6

Author(s):

Charles C. Fries

Keyword(s):

General Public ◽

School Teachers ◽

Parts Of Speech ◽

Historical Method ◽

Divine Inspiration ◽

Common School ◽

The Common ◽

The One ◽

The Trinity

Although the present-day popular views of grammar do not, in medieval fashion, find “divine inspiration in the eight parts of speech” and veiled references to the Trinity in “the three persons of verbal conjugation” yet they do look upon the rules of the common school grammars as the infallible measure of correct language, and the one defence against the forces of corruption that continually beset it. “Grammatici unus finis est recté loqui” still expresses the attitude of the ordinary public, of most school teachers, and of many men of letters. Even a hundred years of the historical method in linguistic scholarship has failed to affect in any marked degree the common grammatical ideas and ideals of the general public.

Inspiracje Moniuszkowskie w muzyce XX wieku. Opera Pomsta Jontkowa Bolesława Wallek Walewskiego

Annales Universitatis Mariae Curie-Sklodowska sectio L – Artes ◽

10.17951/l.2017.15.1.59 ◽

2017 ◽

Vol 15 (1) ◽

pp. 59

Author(s):

Joanna Miklaszewska

Keyword(s):

Interwar Period ◽

The Other ◽

Common Elements ◽

Musical Style ◽

Nineteen Twenties ◽

Principal Difference ◽

Personal Experiences ◽

National Opera ◽

Innovative Idea ◽

The One

Bolesław Wallek Walewski był jedną z czołowych postaci krakowskiego życia muzycznego w okresie międzywojennym. Do jego najwybitniejszych dzieł należy opera Pomsta Jontkowa, której libretto jest kontynuacją Halki Stanisława Moniuszki. W artykule scharakteryzowano muzyczne związki pomiędzy obu operami, widoczne m.in. we wprowadzeniu przez Wallek Walewskiego cytatów motywów z Halki, a także wskazano różnice stylistyczne między obydwoma dziełami. Wyznaczają je trzy elementy: warstwa językowa librett, główne założenia dramaturgiczne oraz styl muzyczny. Libretto Halki napisane zostało przez W. Wolskiego bez aluzji do elementów gwarowych, natomiast B. Wallek Walewski w libretcie Pomsty Jontkowej wykorzystał w szerokim zakresie gwarę podhalańską. W przeciwieństwie do Halki, osią dramatu Wallek Walewskiego jest motyw zemsty górala na możnych panach. Styl muzyczny opery Walewskiego wykazuje pokrewieństwo z muzyką Wagnera, z nurtem muzycznego folkloryzmu (poprzez nawiązanie do folkloru podhalańskiego), oraz impresjonizmu. W artykule poruszono ponadto problem recepcji dzieła. Pomsta Jontkowa była najbardziej znanym i często wystawianym w Polsce dziełem operowym krakowskiego kompozytora. Jej prapremiera odbyła się w Teatrze Wielkim w Poznaniu w 1926 roku. Na przełomie lat dwudziestych i trzydziestych opera ta cieszyła się w Polsce dużą popularnością, wystawiły ją także inne teatry operowe w kraju (z wyjątkiem sceny warszawskiej). Po II wojnie światowej Pomstę Jontkową wystawiła Opera Wrocławska.SUMMARYBorn in Lvov but fi rst of all associated with the musical circles in Krakow, Bolesław Wallek Walewski (1885-1944) referred to one of Stanisław Moniuszko’s most famous operas – Halka [Helen] – when composing his own opera Pomsta Jontkowa [Jontek’s Vengeance] (1924). The contemporaries regarded Halka and Pomsta Jontkowa as a series. Both operas share common elements: Halka (Warsaw version) and Pomsta Jontkowa are four-act operas, the same characters appear in their librettos (Jontek, Zofia), and in both works the confl icts between the gentry and the peasants are highly important. The musical connections between the operas are evidenced by Walewski’s use of the leading motifs. Moreover, both in Halka and in Pomsta Jontkowa, there are highlanders’ dances. Walewski also includes melodies from Halka into his work.The principal difference between the two operas is determined by three elements: the language of the librettos, the main dramatic assumptions, and the musical style. The libretto of Halka was written by Włodzimierz Wolski (1824-1882) without references to dialectal elements whereas Walewski liberally used the Podhale highlanders’ dialect in his libretto. Moreover, unlike Halka, which emphasizes the personal experiences of the main heroine and social confl icts, the axis of Walewski’s drama is the motif of the highlander’s revenge on the wealthy lords. The musical style of Pomsta Jontkowa shows, on the one hand, a similarity with Richard Wagner’s music (harmony, instrumentation, and the way of treatment of leitmotifs), while on the other – a similarity to the trend of musical folklorism and impressionism. An innovative idea is the combination of impressionist features with the stylization of highlanders’ folklore.Pomsta Jontkowa was the best known opera of the Krakow composer in Poland in the nineteen-twenties and thirties, and at the same time it was one of the most original Polish operas of the interwar period. It combines traditional elements with modern ones, and it is an expression of the late inspirations by Wagnerian music and esthetics in Polish music, as well as referring to the best traditions of the Polish national opera.

TOWARDS EXPERIENTIAL REPRESENTATION IN ARCHITECTURE

Journal of Architecture and Urbanism ◽

10.3846/20297955.2016.1163243 ◽

2016 ◽

Vol 40 (1) ◽

pp. 47-58 ◽

Cited By ~ 1

Author(s):

Luis Alfonso de la Fuente Suárez

Keyword(s):

Creative Process ◽

Architectural Design ◽

The Other ◽

Direct Experience ◽

Other Hand ◽

Representation Of Architecture ◽

The Creation ◽

The One ◽

Visual Realism ◽

Interpretive Process

Planning and predicting the experiences that buildings will produce is an essential part of architectural design. The importance of representation lies in its ability to communicate experiences before a building is materialized. This article will treat the topic of representation of architecture works without putting aside our direct experience with edifices. By understanding the perceptual, associative and interactive phenomena that arise from the human encounter with buildings, it becomes possible to comprehend the representation of these phenomena through pictorial means. The first objective of this theoretical article is to define the inherent and unavoidable factors that are present in the creation and interpretation of all architectural representations, regardless of the technical means used. Any representation conveys two processes: the representation of experience (a creative process), and the experience of representation (an interpretive process). Furthermore, there exist two layers in any representation: the what (the architectural object) and the how (the representational medium). The second objective is to suggest alternatives to visual realism, in order to create representations that embody the particular phenomena that an architectural work will be able to produce. On the one hand, representations that pretend to copy reality produce in the observers detailed visual experiences; on the other hand, certain representations reflect the experiences themselves after they have been produced; they represent buildings as they are transformed by experience. This article focuses on those representations that are not only the reflection of an object, but also the reflection of our way of experiencing it.

IV. Being Made a Patient People

Horizons ◽

10.1017/hor.2018.77 ◽

2018 ◽

Vol 45 (2) ◽

pp. 402-406

Author(s):

Philip E. Thompson

Keyword(s):

New England ◽

Presidential Address ◽

Direct Experience ◽

Saturday Evening ◽

The One ◽

Do So

I begin with thanks to Professor Freeman for a helpful article, and with the admission that I am torn by this topic. On the one hand, I have shared by direct experience and that of friends the same pain Freeman describes of being unable to commune at the Saturday evening mass at the CTS/NABPR convention. I remember Sandra Yocum's words of public lament in her 2014 CTS presidential address. Some of us may remember our convention at Spring Hill in 2005 when the celebrant at the Saturday mass that year, Fr. David Robinson, who grew up a New England Congregationalist, spoke with deep anguish of his deep desire to share communion with the Baptists, coupled with the inability to do so. We had sung Susan Toolan's “I Am the Bread of Life,” hearing in our own voices Christ's promise of being raised up on the last day. And then we sensed how that day was not yet. But we should remember that the “last day” when we will unquestionably be one, if I may borrow words from the poet W. H. Auden, “is not in our present, and not in our future, but in the fullness of time.” So we ask now about the prospects of provisionally—proleptically—embodying that oneness this side of the eschaton.

“Was it for this [. . .]?”: The Poetic Histories of Southey and Wordsworth

Romanticism on the Net ◽

10.7202/009258ar ◽

2004 ◽

Cited By ~ 1

Author(s):

Simon Bainbridge

Keyword(s):

Eighteenth Century ◽

States Of Mind ◽

Joan Of Arc ◽

Crucial Element ◽

The One

AbstractThis essay opens with a comparison of Robert Southey’s “History” and William Wordsworth’sThe Preludeas poems of poetic dedication at a time of historical crisis. It argues that Southey’s text offers a manifesto for a different poetic mode to the one normally defined as Romantic. Through readings of Southey’sJoan of Arcand Wordsworth’s “The Discharged Soldier”, it examines the contrasting ways in which the two poets responded to the war with France and shows how the conflict played a major role in the shaping of their poetic identities. The writers’ different trajectories as poets are traced through an examination of their poetic dialogue from 1798 to 1802 as Southey countered what is often seen as one of the fundamental manoeuvres that characterizes the development of Wordsworthian Romanticism, the shift from a polemical humanitarian concern with suffering individuals to a psychological interest in their states of mind. Southey’s “The Sailor’s Mother” offered a reassertion of the importance of history so powerful that Wordsworth himself replied to it in a poem of the same name. Yet despite their differences, Southey’s “History” and Wordsworth’sThe Preludeillustrate another crucial element of the two writers’ response to historical and vocational crisis during the war, the redefinition of poetry as a manly pursuit after its increasing feminization in the closing decades of the eighteenth century.

The Initial Anthropology in Aristotle’s Nicomachean Ethics

wisdom ◽

10.24234/wisdom.v8i1.175 ◽

2017 ◽

Vol 8 (1) ◽

pp. 65

Author(s):

Georgia APOSTOLOPOULOU

Keyword(s):

Ethical Theory ◽

The Other ◽

Nicomachean Ethics ◽

Common Elements ◽

Human Animal ◽

Practical Life ◽

Aristotle's Ethics ◽

The One ◽

Platonic View ◽

Living Being

In the ‘Foreword’, I address some aspects of Academician Georg Brutian’s philosophy. The Initial Anthropology paper follows. In his Nicomachean Ethics, Aristotle considers the relation of ethical theory to anthropology in a specific way. He sets out an initial anthropology that describes the human through its common and non-common elements to plants as well as to ‘other animals’. The conclusion is that the human animal is the only living being that is endowed with reason and carries out ‘practical life’. We may call this difference ‘the anthropological difference’. In his ethical theory, Aristotle points to the limits of the anthropological difference. On the one hand, he holds that only practical theory can explain the ‘practical life’ as well as the ‘human Good’. On the other hand, he highlights that the human is higher than the ‘other animals’, since the human is endowed with the divine element of intellect; nevertheless, there are beings that are ‘more divine’ than the human. Thus Aristotle corroborates the human and its practical life, without abandoning the Socratic-Platonic view of the Divine. In this aspect, the alleged anthropocentrism of Aristotle’s ethics is to be reconsidered.

MYSTICISM AND POLITICS IN THE ANCIENT GREEK AND CHINESE PHILOSOPHIC PARADIGMS

The Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science" ◽

10.26565/2306-6687-2020-61-06 ◽

2020 ◽

Keyword(s):

Chinese Philosophy ◽

Ancient Greece ◽

The Political ◽

Chinese Society ◽

Ancient Greek ◽

Direct Experience ◽

Political Theories ◽

The One ◽

Different Cultures ◽

Rational Type

The aim of the article consists in comparativistic anlysis of mystical and political theories and practices in frame of the ancient greek and chinese philosophic paradigms. Philosophy as a science pretends to exceed from some self-obvious moments that are nevertheless different in context of different cultures. One can point out accordingly five paradigms: indian, chinese, ancient greek and roman, abrahamic, modern scientific. The chinese paradigm can be reduced to two moments: oitlook organismism and aphoristic character; the ancient greek is considered as a spiritual practice (in that it differs from sophistics) and whose aim consists in attaining happyness in the hostile world. Openness and the agon spirit of the polis culture demand clear logical argumentation that determined the key peculiarity of the antique and later abrahamic (partially) and modern scientific philosophic paradigms. The essence of the mystical lies in that can be experienced only in direct experience that is impossible to be explained to those who had never this experience. Politics is defined as an art of governing either a state or any groups of people in wider understanding. Mysticism and politics are things opposite to each other – the more of the one the less of the other and vice versa. Comparativistic analysis demonstrates us mutual interconnection between the type of socio-cultural system and means of representations of the political and mystical. If the polis culture of Ancient Greece with its spirit of agon demanded logic and rhetoric then it led to predominant rational type of representations of both the mystical and political that could be bound or not bound through the system of logical argumentation. That means the political is mainle independent on the mystical. In the chinese philosophy with its organismism, aphoristical character and stratagemas, that were means of exteriorization of the closed clan character of the traditional chinese society, all including politics is reduced to some vague mystery as Tao or Heaven that determine all the follow discourse, making it mainly irrational.