Filial Piety

2021 ◽  
pp. 37-51
Keyword(s):  
Filial Piety ◽  
Material World ◽  
Ancestor Worship ◽  
Administrative Control ◽  
Essential Aspect ◽  
Spiritual World ◽  
The People ◽  
Central Tenet ◽  
History Of

Filial piety is an essential aspect of ancestor worship. The Confucian doctrine of Filiality dictates that children honor their parents in both the material world while they are alive and the spiritual world when they are dead. Ancestor worship comes into play when the parents are dead and filial piety becomes ancestor worship as children venerate their dead parents. Filial piety is the embellishment of the central tenet of the Confucian system of ethics recorded in the most important cultural and scholarly books, taught by the sages, and obeyed by the people. Filial piety is perhaps the single most consequential scheme of sociopolitical and administrative control to ever have been envisioned and effectuated upon a people in the history of civilizations. Although the notion of filiality has evidently been practiced in virtually all civilizations and cultures, Confucius described filial piety as the most important virtue, which ensures the preservation of family lineage.

scholarly journals THE TRADITION OF ABAY, IBRAY THE KAZAKH CHILDREN'S POETRY

2020 ◽  
Vol 73 (3) ◽  
pp. 260-267
Author(s):  
Z. Rustemova ◽  
Keyword(s):  
Children’S Literature ◽  
Comprehensive Education ◽  
Spiritual World ◽  
The People ◽  
Depth Study ◽  
History Of ◽  
The Subject ◽  
History Of Culture ◽  
Children's Poetry ◽  
Aesthetic Meaning

The article devotes theespesialities of Showinq of Abay, Ibyray`s traditions in Kazakh children literature for beqinninq of ХХ century. So, author have been qivinq his opinion to problems of thematic, ideas, qarmony, structurinq and Same in verses of poets-democtrats. In the history of culture, as you know, which people have developed and developed over the centuries, has its own national Outlook, a peculiar philosophy, folklore heritage, in a word, its own spiritual world. It is proved that at different times one of the richest zhurttardyns comes to the Treasury of national spirituality of the people. In recent years, the amount of spiritual wealth has been achieved further, both in different ways and in terms of aesthetic effect. One of the most striking examples of this concept is the Kazakh written children's literature. Today it is one of the richest in Kazakh literature, the history of which has a deep, philosophical and aesthetic meaning, always rich in thought and content.The study of the subject of literature, on the basis of which comprehensive education of children should be an in-depth study and practical use of various types of folklore for children, samples of written literature.

scholarly journals EXPRESSION OF IM EXPRESSION OF IMAGES REL GES RELATED TO NATIONAL TRADI AL TRADITIONS IN A.NAVOI'S WORK

2020 ◽  
Vol 4 (5) ◽  
pp. 141-146
Author(s):  
Marifat Bakoyevna Rajabova ◽  
Keyword(s):  
Analytical Methods ◽  
Way Of Life ◽  
Work Of Art ◽  
Folk Traditions ◽  
Spiritual World ◽  
Special Place ◽  
The People ◽  
Great Poet ◽  
History Of ◽  
The Way

Background. It is known that the customs, traditions, material and spiritual riches of the Turkic peoples belong to the great poet A. Thanks to Navoi's sharp intellect and artistic thinking; it has become an immortal property of our spirituality. Therefore, the creative heritage of the great poet is important not only as a work of art, but also as a unique historical and ethnographic source of culture of life of the Turkic peoples, including the Uzbek nation. This article examines the works of Alisher Navoi, depicting the way of life, culture, socio-political, theological and mystical worldview of the Turkic peoples, and even the ancient mythological ideas and some of the customs and rituals associated with them. The traditions of the poet's lyrical, lyre-epic works are an important source for studying the history and spiritual world of the Turkic peoples. Methods. In the article A. In order to clarify the place of folk traditions in Navoi's lyrical heritage, comparative-typological, analytical methods were used. Results. In the works of Alisher Navoi, a special place is given to the depiction and interpretation of plates related to the way of life, culture, socio-political, divine and mystical worldview of the Turkic peoples, and even ancient mythological notions and some customs and rituals associated with them. Such works of art, which are recorded as "ethnographic folklorisms", have played an important role in enhancing the national and realistic spirit of the poet's works, their artistic impact. Conclusion. Navoi's works contain valuable artistic details related to the way of life and customs of the people, which can provide important information in the study of the history of life of the people of that period.

‘Was kann aus Nazareth schon Gutes kommen?’ (Joh 1.46). Die Bedeutung des Judeseins Jesu im Johannesevangelium

2000 ◽  
Vol 46 (1) ◽  
pp. 21-41 ◽  
Author(s):  
THOMAS SÖDING
Keyword(s):  
Jewish People ◽  
Fourth Gospel ◽  
Son Of God ◽  
Essential Aspect ◽  
The People ◽  
The World ◽  
History Of ◽  
The Cross ◽  
The One ◽  
The Way

The polemic against ‘the Jews’ in the Fourth Gospel is often realized and criticized. But John also points out that Jesus himself is a Jew. This is the way John draws the line of his incarnation theology into the ‘history’ of Jesus, narrated in the gospel. As ‘prophet’ (4.19) Jesus the ‘Jew’ (4.9) is ‘the Saviour of the world’ (4.42); as man, coming from Nazareth in Galilee (1.46; 4.43f; 7.41), Jesus is the Messiah, born in Bethlehem (7.42): well known as ‘son of Joseph’ (1.45; 6.42), unknown as ‘Son of God’ (cf. John 1.19). On the cross Jesus the ‘King of the Jews’ (19.19) dies ‘for the people’ and ‘for the scattered children of God’ (11.50ff). It is an essential aspect of John's Christology that Jesus belongs to his Jewish people. This theological fact, founded in the identity of the one God, shows the so-called anti-Judaism of John in a new light.

scholarly journals To the History of Russian Myth of the Great Sinner: Breakers of the Fifth Commandment in the Soviet Novel of the 1970s (F. Abramov, V. Tendryakov, I. Grekova)

2019 ◽  
Vol 14 (2) ◽  
pp. 106-119
Author(s):  
Margarita N. Klimova
Keyword(s):  
Second Life ◽  
Filial Piety ◽  
Ethical Issues ◽  
Soviet Period ◽  
Classical Literature ◽  
Prodigal Son ◽  
The People ◽  
History Of ◽  
The One ◽  
The Individual

A meta-story of “repentance and salvation of a great sinner” became world-famous as part of the Christian ethical doctrine, and was enshrined in the sacrament of confession. For a number of reasons it lost its relevance in the West by the beginning of the New Age, but gained a second life in Russia as one of the myths of national consciousness. The Russian adaptations of the great sinner myth are characterized by a “sobornyi” approach to a problem of personal guilt and redemption, as well as fixation on open endings. The myth’s motifs and variations are widely represented in Russian classical literature works, as well as Soviet writers’ works. The article is devoted to one of the variants of existence of the myth in the Soviet period – a history of a breaker of the fifth commandment (on filial piety) on the example of three novels of the 1970s. “A Trip to the Past” by F. Abramov (1974), which was published in the years of perestroika, is one of the first attempts at a truthful depiction of collectivization. The main character of this little novella, plunging into the memories, overestimates the people and events of his youth, but betrayal of his father, who was declared as “the enemy of the people”, he could redeem only at the cost of his own life. V. Tendryakov’s suspenseful novel “Payback” (1979) is devoted to investigation of a serious crime – patricide committed by a teenager, but a traditional form of detective narration is used in it to raise topical ethical issues of modern life. The study of the causes and background of the private tragedy of the Karyakins family reveals the weak points of interaction between the individual and society, the family and the state, as well as the definition of permissible limits for active resistance to evil. I. Grekova’s “The Widow’s Steamer” (1979) is a vivid example of “female prose”. It tells about the life of the inhabitants of a Moscow communal apartment during several decades. One of the main plotlines of the story is dramatic relationship between mother and son in the Gromov’s family. Cruel youthful maximalism and egocentrism on the one hand, and “bondage of maternal love” on the other, erect a wall of estrangement between once close people, which cannot overcome even belated repentance of the son. Diverse in a creative manner stories bring together interest of their authors to the recent pages of Soviet history, an active use of mythologems of Russian and world culture, as well as the tragical rendition of the immortal parable of the prodigal son.

“The Fumes of Polonism and the Stench of Herzenism”: “Vestnik Zapadnoy Rossii” Against Class Revolution and Clas Reaction

2020 ◽  
Vol 58 ◽  
pp. 118-134
Author(s):  
Aleksandr E. Kotov
Keyword(s):  
Short History ◽  
South West ◽  
The People ◽  
History Of ◽  
Stereotypical Image

The journal of Ksenofont A. Govorsky “Vestnik Yugo-Zapadnoy I Zapadnoy Rossii” (“South-West and West Russia Herald”) is known in the history of pubic thought as odious and reactionary. However, this stereotypical image needs some revision: the anti-Polish discourse on the pages of the magazine was not so much nationalistic as anti-aristocratic in nature. Considering the “Poles” primarily as carriers of the aristocratic principles, the editorial board of the magazine claimed to protect the broad masses of the people. Throughout its short history, the magazine consistently opposed both revolutionary and aristocratic propaganda. However, the regional limitations of the problems covered in the magazine did not give it the opportunity to reflect on the essential closeness of the revolutionary and reactionary principles. Yu.F. Samarin and I.S. Aksakov – whose conservative-democratic views, on the whole, were close to “Western Russianism”, promoted by the authors of “Vestnik Yugo-Zapadnoy I Zapadnoy Rossii”, managed to reach that goal.

The Hierophanic Facets of the Seraphic Hymns

Trictrac ◽  
2018 ◽  
Vol 10 ◽  
Author(s):  
Petru Adrian Danciu
Keyword(s):  
Mutual Recognition ◽  
The Other ◽  
Human Being ◽  
Material World ◽  
Face To Face ◽  
The People ◽  
Musical History ◽  
The Face ◽  
The One

Starting from the cry of the seraphim in Isaiahʹ s prophecy, this article aims to follow the rhythm of the sacred harmony, transcending the symbols of the angelic world and of the divine names, to get to the face to face meeting between man and God, just as the seraphim, reflecting their existence, stand face to face. The finality of the sacred harmony is that, during the search for God inside the human being, He reveals Himself, which is the reason for the affirmation of “I Am that I Am.” Through its hypnotic cyclicality, the profane temporality has its own musicality. Its purpose is to incubate the unsuspected potencies of the beings “caught” in the material world. Due to the fact that it belongs to the aeonic time, the divine music will exceed in harmony the mechanical musicality of profane time, dilating and temporarily cancelling it. Isaiah is witness to such revelation offering access to the heavenly concert. He is witness to divine harmonies produced by two divine singers, whose musical history is presented in our article. The seraphim accompanied the chosen people after their exodus from Egypt. The cultic use of the trumpet is related to the characteristics and behaviour of the seraphim. The seraphic music does not belong to the Creator, but its lyrics speak about the presence of the Creator in two realities, a spiritual and a material one. Only the transcendence of the divine names that are sung/cried affirms a unique reality: God. The chant-cry is a divine invocation with a double aim. On the one hand, the angels and the people affirm God’s presence and call His name and, on the other, the Creator affirms His presence through the angels or in man, the one who is His image and His likeness. The divine music does not only create, it is also a means of communion, implementing the relation of man to God and, thus, God’s connection with man. It is a relation in which both filiation and paternity disappear inside the harmony of the mutual recognition produced by music, a reality much older than Adam’s language.

LEADERS AND TIMES OF CRISIS: JEREMIAH 5:1–6 A CASE IN POINT

2017 ◽  
Vol 24 (2) ◽  
pp. 657-677 ◽  
Author(s):  
Wilhelm J. Wessels
Keyword(s):  
Ordinary People ◽  
Covenant Theology ◽  
The People ◽  
History Of ◽  
Book Of Jeremiah ◽  
Definitive Role ◽  
Ethical Obligations ◽  
Moral Demands ◽  
The Way ◽  
Crisis Situations

The book of Jeremiah reflects a particular period in the history of Judah, certain theological perspectives and a particular portrayal of the prophet Jeremiah. Covenant theology played a major role in Jeremiah’s view of life and determined his expectations of leaders and ordinary people. He placed high value on justice and trustworthiness, and people who did not adhere to this would in his view bear the consequences of disobedience to Yahweh’s moral demands and unfaithfulness. The prophet expected those in positions of leadership to adhere to certain ethical obligations as is clear from most of the nouns which appear in Jeremiah 5:1–6. This article argues that crisis situations in history affect leaders’ communication, attitudes and responses. Leaders’ worldviews and ideologies play a definitive role in their responses to crises. Jeremiah’s religious views are reflected in his criticism and demands of people in his society. This is also true as seen from the way the people and leaders in Judah responded to the prophet’s proclamation. Jeremiah 5:1–6 emphasises that knowledge and accountability are expected of leaders at all times, but in particular during unstable political times.

ABCs of the Revolution

2020 ◽  
Vol 17 (3) ◽  
pp. 278-291
Author(s):  
Egor A. Yesyunin
Keyword(s):  
Civil War ◽  
Second World War ◽  
World War ◽  
Special Significance ◽  
Development History ◽  
The People ◽  
Red Army ◽  
History Of ◽  
Second World ◽  
The Revolution

The article is devoted to the satirical agitation ABCs that appeared during the Civil War, which have never previously been identified by researchers as a separate type of agitation art. The ABCs, which used to have the narrow purpose of teaching children to read and write before, became a form of agitation art in the hands of artists and writers. This was facilitated by the fact that ABCs, in contrast to primers, are less loaded with educational material and, accordingly, they have more space for illustrations. The article presents the development history of the agitation ABCs, focusing in detail on four of them: V.V. Mayakovsky’s “Soviet ABC”, D.S. Moor’s “Red Army Soldier’s ABC”, A.I. Strakhov’s “ABC of the Revolution”, and M.M. Cheremnykh’s “Anti-Religious ABC”. There is also briefly considered “Our ABC”: the “TASS Posters” created by various artists during the Second World War. The article highlights the special significance of V.V. Mayakovsky’s first agitation ABC, which later became a reference point for many artists. The authors of the first satirical ABCs of the Civil War period consciously used the traditional form of popular prints, as well as ditties and sayings, in order to create images close to the people. The article focuses on the iconographic connections between the ABCs and posters in the works of D.S. Moor and M.M. Cheremnykh, who transferred their solutions from the posters to the ABCs.

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