scholarly journals The Logos between psychology, ontology, and Divinity: Fundamental aspects of the concept of Logos in the early thought of Slavoj Žižek

2014 ◽  
Vol 70 (1) ◽  
Author(s):  
Corneliu C. Simuț
Keyword(s):  
Special Interest ◽  
Natural World ◽  
Psychological Aspects ◽  
Human Being ◽  
Relationship With God ◽  
Fundamental Feature ◽  
Slavoj Žižek ◽  
The Sublime ◽  
The World ◽  
Modern Thought

Slavoj Žižek’s philosophy spans over more than three decades, which is confirmed by the numerous books he published since the late 1980s. Since his thinking about the idea of logos is no exception, this article focuses on what can be termed Žižek’s early philosophy, and especially that depicted in his The sublime object of ideology (1989) and The metastases of enjoyment (1994). Whilst the former underlines the psychological aspects of the logos, the latter focuses more on theories about being, as well as on theological considerations. This is why, three uses of the logos were identified in Žižek’s thought: psychological, ontological and theological, all three with a clear focus on the human being as conceived in modern thought, which for Žižek seems to be utterly opposed to traditional thinking about man and his relationship with God. It is clear from Žižek that whilst the notion of God does appear in this thought, it only refers to the human being which encapsulates the essence of Žižek’s philosophy to the point that the logos itself is a fundamental feature of the human being’s material existence in the natural world. Regardless of whether the logos points to psychology, ontology or divinity (theology), it always emerges as an idea which centres on the human being, with a special interest in how it exists as well as how it works in the world.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

scholarly journals Cartographic Sublime

2019 ◽  
Author(s):  
Frances Hsu ◽  
Keyword(s):  
Natural World ◽  
Edmund Burke ◽  
Early 19Th Century ◽  
Philosophical Inquiry ◽  
The Sublime ◽  
The World ◽  
Cognitive Faculties ◽  
The Face ◽  
Political Philosopher ◽  
Rational Side

Kant distinguishes two notions of the sublime: the mathematically sublime and the dynamically sublime. In the case of both notions, the experience of the sublime consists in a feeling of the superiority of our own power of reason, as a super sensible faculty, over nature. (Stanford Encyclopedia of Philosophy) The concept of the sublime was associated with nature in late 18th and early 19th century aesthetics. Political philosopher and states-man Edmund Burke evoked human mortality in A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful, defining the sublime as experience of the overwhelming magnitude of phenomena in the natural world which causes “a sort of delightful horror, a sort of tranquility tinged with terror; which, as it belongs to self-preservation, is one of the strongest of all the passions.” Kant, in contrast to Burke, defines rationality is an important component of the experience of the sublime: “The sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence provokes a representation of limitlessness, yet with a super-added thought of its totality.” That is, reason--super-added thought--allows us to comprehend and challenge the entirety of that which is beyond comprehension. He writes that “the feeling of the sublime in nature is respect for our own vocation . . . this feeling renders as it were intuitable the supremacy of our cognitive faculties on the rational side over the greatest faculty of sensibility.” For Kant, in other words, the experience of the sublime was the oscillation between sensation and rationality in the face of the overwhelming-ness of phenomena in the world.

The image of man in the Koran

2021 ◽  
Author(s):  
Mahdi Esfahani
Keyword(s):  
Human Being ◽  
Human Beings ◽  
Relationship With God ◽  
Complex Dimensions ◽  
Basic Meaning ◽  
The World ◽  
Insight Into

This article provides an insight into Koranic anthropology and looks at the essence of man in his relationship with God. Here the author starts from the term insān as one of several terms for »man« occurring in the Koran, which, according to the representation of the Arabic lexicographer al-Ḫalīl ibn Aḥmad al-Farāhīdī (d. ca. 791) in the Kitāb al-ʿain, refers back to the three-radical root n-s-y with the basic meaning »forget«. With the term insān al-ʿain, literally »the man of the eye«, which in Arabic denotes the pupil, he shows that seeing, perceiving and cognizing are essential characteristics of human beings which, on closer examination, include forgetting, since human beings can only see and recognize what they are actually looking at, while everything else is inevitably forgotten. The author considers this meaning in the context of some fundamental verses of the Koran, which clarify the complex dimensions of the human being in his relationship to God and the world, in order to finally show that man is capable of assuming the highest and lowest levels of being, depending on his degree of perception and knowledge.

Can the Sublime Be Postcolonial? Aesthetics, Politics, and Environment in Amitav Ghosh’sThe Hungry Tide

2014 ◽  
Vol 1 (2) ◽  
pp. 223-242 ◽  
Author(s):  
Jana María Giles
Keyword(s):  
Mangrove Forest ◽  
Natural World ◽  
Pure Reason ◽  
The Novel ◽  
Aesthetics And Politics ◽  
Postcolonial State ◽  
The Sublime ◽  
The World ◽  
Sundarban Mangrove ◽  
Ethics And Politics

AbstractSet in the vast Sundarban mangrove forest of Bangladesh in the shadow of the colonial past and the 1979 Morichjhapi massacre,The Hungry Tidetraces the transformation of three metropolitan characters from disengaged spectators to invested insiders. The novel may be read as elaborating the theories of Jean-François Lyotard, whose revision of the sublime as the “differend” in both aesthetics and politics provides a compelling context for exploring the postcolonial sublime. Suggesting ecocentric ways of engaging the world that loosen the bonds of the colonial past and critiquing the failure of the postcolonial state and the new cosmopolitanism, Ghosh rewrites aesthetics as interconnected with ethics and politics. In his novel, the postcolonial sublime no longer reifies metaphysical or anthropocentric pure reason, but instead enables discovery of our interpenetration with the natural world, spurring us to witnessing and activism in partnership with those who have been rendered silent and invisible.

Charlotte Smith's Aesthetic System and the Borders of Romanticism

Romanticism ◽  
2018 ◽  
Vol 24 (2) ◽  
pp. 169-178
Author(s):  
Emilee Morrallis
Keyword(s):  
Popular Culture ◽  
Natural World ◽  
Psychological Aspects ◽  
Domestic Spaces ◽  
The Sublime

Charlotte Smith's lengthy absence from popular culture has positioned her at the periphery of Romantic studies, yet the visual aspects of her prose exhibit a sustained engagement with Romantic ideals and aesthetic discourse, particularly the sublime. This article thus examines the experiences of Smith's marginalised heroines at physical borderlands in Ethelinde: or the Recluse of the Lake (1789) and Montalbert (1795) in relation to Edmund Burke's classifications of sublime and beautiful landscapes. Smith's protagonists demonstrate that small yet beautiful domestic spaces are places of reflection which provide sanctuary, whilst rugged sublime coastlines evoke extreme emotions and involve mental faculties such as the imagination. In Smith's work, there is an inherent connection between nature and selfhood which becomes the basis for an aesthetic system which expands upon Burkean terminology and constructs a framework for understanding the physical, emotional and psychological aspects of female interactions with the natural world.

scholarly journals Aku dalam Tuhan: Implikasi Teologi Proses pada Era Kontemporer

ULUMUNA ◽  
2017 ◽  
Vol 16 (2) ◽  
pp. 347-374
Author(s):  
Suhermanto Ja’far
Keyword(s):  
Human Being ◽  
Relationship With God ◽  
Social Lives ◽  
The World ◽  
Working People ◽  
The Relationship ◽  
The Universe ◽  
Living Being

Theological implications in social lives are still worth analyzed. This paper discusses the authentic image of man as I in the relationship with God and the world. These relationships affect the nature of the world and the world to change the nature of God. The implications of the inclusion of God in the world is God’s presence to the world and the world is affected God. Immanent God is the God who is present in every human being, every living being, and the universe. Every human being is unique and as I am in the uniqueness of God is present. In the directionality that God wanted man and the world become “like Him”, they are united with him; He is involved in the principles and ways of working people and the world. Even though God is in everything and everything is in God, it does not mean that everything is identical, or equal with God. God that is “above” and present “in” the world to make people as I was in the Lord.    

‘Behold the Human Being’

2019 ◽  
pp. 194-244
Author(s):  
John Behr
Keyword(s):  
Human Being ◽  
Fundamental Feature ◽  
Son Of Man ◽  
The World ◽  
The Cross ◽  
Heaven And Earth

Chapter Four demonstrates how Christ’s word from the Cross, ‘It is Finished’, refers back to the opening verses of Genesis, where, unlike every other aspect of creation, which is brought into existence by an imperative, a divine fiat—‘Let it be!’—the particular project of God is given in the subjunctive, ‘Let us make a human being’: a project only completed when Christ lays down his own life in an act of love, unwitting confirmed by Pilate, ‘behold the human being!’. The first part of the chapter shows how this theme is developed by John over the course of the Gospel, most notably in the ‘woman’ who appears in Cana and at the Cross, and in John 16, where she is in travail until a human being is born into the world. This theme is also traced in the Apocalypse, and in writers following on from John: Ignatius of Antioch writing on his way to martyrdom, Melito of Sardis in his Paschal celebration, and Irenaeus of Lyons as a fundamental feature of his account of the whole economy of God leading, in the end, to the true human being. The second part of this chapter explores how this understanding of the human being informs the enigmatic figure of the Son of Man, as he steps dramatically into view at the beginning of the Gospel and appears frequently thereafter, examining John Ashton’s new proposal for interpreting the Son of Man, as a stage in the composition of the Gospel before the idea of Incarnation came to the fore, but argues instead that the Son of Man is the true human being, uniting heaven and earth, ascending the cross to descend as the flesh he offers to the faithful.

The problem of periodization of the history of religion

1997 ◽  
pp. 3-8
Author(s):  
Borys Lobovyk
Keyword(s):  
Religious Studies ◽  
Human Being ◽  
Religious Development ◽  
History Of Religion ◽  
The Social ◽  
The World ◽  
History Of ◽  
Role Of Religion

An important problem of religious studies, the history of religion as a branch of knowledge is the periodization process of the development of religious phenomenon. It is precisely here, as in focus, that the question of the essence and meaning of the religious development of the human being of the world, the origin of beliefs and cult, the reasons for the changes in them, the place and role of religion in the social and spiritual process, etc., are converging.

A Māori Girl Watches, Listens, and Learns – Coming of Age from an Indigenous Viewpoint: Mauri (Merata Mita, 1988)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Indigenous People ◽  
Coming Of Age ◽  
Natural World ◽  
Feature Film ◽  
Indigenous Woman ◽  
Spiritual Dimension ◽  
The World ◽  
Life Force ◽  
Relationship Of ◽  
The Relationship

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.

Interpassivity and Misdemeanours: The Art of Thinking in Examples and the Žižekian Toolbox

2018 ◽  
Author(s):  
Robert Pfaller
Keyword(s):  
Specific Role ◽  
Slavoj Zizek ◽  
Slavoj Žižek ◽  
The Sublime

Starting from a passage from Slavoj Žižek`s brilliant book The Sublime Object of Ideology, the very passage on canned laughter that gave such precious support for the development of the theory of interpassivity, this chapter examines a question that has proved indispensable for the study of interpassivity: namely, what does it mean for a theory to proceed by examples? What is the specific role of the example in certain example-friendly theories, for example in Žižek’s philosophy?

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