scholarly journals CONSTRUCTION OF UNDERSTANDING OF I'JAZ ALQURAN

2020 ◽  
Vol 5 (1) ◽  
pp. 86-98
Author(s):  
Pan Su’aidi
Keyword(s):  
Human Being ◽  
The Invisible

Amtsal Al-Qur'an becomes very important to be studied and understood in greater depth because as an effort to understand or react to the invisible nature to conclude verses of the Qur'an that have words in each sentence which is very beautiful but has the meaning is very deep beautiful and solid, which encourages every human being to do everything following interests and desires. Amtsal also gives advice and warnings to humans, so that Amtsal has a very important role in education because actually education itself contains advice and warnings in every implementation

scholarly journals "Life is a dream": Ibn ‘Arabī on the Mysteries of Divine

1970 ◽  
Author(s):  
James W. Morris
Keyword(s):  
Human Relation ◽  
Human Being ◽  
Film Festival ◽  
Personal Meanings ◽  
Shadow Play ◽  
Ibn Arabi ◽  
First Time ◽  
Shadow Theater ◽  
The Invisible

We are the bees of the invisible. Lovesick, we forage for the honey of the visible, to store it in the great golden hive of the Invisible.Rainer Maria Rilke For Ibn ‘Arabī, as for Plato and Dante (or Calderon), all of earthly life and existence is essentially a divine Dream:” a singular, ongoing, timelessly interpenetrating, profoundly meaningful and ultimately transformative cinematic drama that cosmic “Play” and universal shadow-theater whose personal meanings and mysteries each of us must gradually discover through all our hastily improvised roles as audience, author, reader, performer, and even critic.This essay, centering on key passages translated for the first time from the concluding volume of our Murcian master's immense book of Meccan Illuminations, highlights some of the key elements of the universal process of spiritual realization within which each human being gradually moves from the perception of this unfolding shadow-play in sharply limited worldly terms toward the deepening recognition of its aim and fulfillment as a shared, never-ending adventure of divine-human discovery. In order to provide a basic metaphysical framework for these more focused and practical insights, I have begun here with a few more familiar selections from Ibn ‘Arabī 's earlier foundational chapter (63) devoted to outlining our human relation to this entire Play of our earthly (and posthumous spiritual) existence conceived as a cosmic divine "Imagining” (ḫayāl) within which we and our familiar worlds are both the dreamed and yet also in so many shifting ways active dreamers.Given the larger film festival context of this conference, I had originally hoped to draw out more explicit connections at each stage between Ibn ‘Arabī's teachings and observations and particular cinematic illustrations fitting each of these short passages. However, given both the greater time that would require and the need to clearly explain each of the chosen examples we might take up, I must ask each of you instead, as we proceed, simply to notice the pertinent illustrations that will inevitably come to mind. 

scholarly journals To break “the Black Wall”. The motif of fear in plays by Henri-René Lenormand

2020 ◽  
Vol 57 (2) ◽  
pp. 27-38
Author(s):  
Tomasz Kaczmarek
Keyword(s):  
Human Being ◽  
Human Soul ◽  
Literary Expression ◽  
The World ◽  
The Invisible

Henri-René Lenormand refreshed theatre, defining a new domain for it: the mysteries of the human soul. In all of his plays, he strived to explain the secret of internal life, as well as to solve the mystery that people are to themselves. Therefore, dramaturgy was for the author of La Folle du Ciel not only a means of literary expression, but also a kind of therapy, enabling him to combat his depression. In this article, three plays are discussed: Le Temps est un songe, Les Ratés, and Le Lâche, in which the French playwright diagnosed cases of melancholia by describing the psychotic world from the perspectives of the suffering protagonists. He presented them in closure, isolated from the rest of the world, suffocating in claustrophobic rooms under mansard roofs which symbolised their strained mental conditions. Apart from physical walls, in Lenormand’s works there is also the invisible to the eye yet pervasive “black wall”, in front of which a human being stands completely defenceless and mentally broken, trying to find in it even the slightest crack enabling them to escape the delusional world.

scholarly journals VISUAL IMAGES OF THE INVISIBLE IN MODERN CULTURE

2019 ◽  
pp. 39-42 ◽  
Author(s):  
N. V. Shmeleva ◽  
A. A. Klyuev
Keyword(s):  
Modern Art ◽  
Sensory Perception ◽  
Visual Images ◽  
Human Being ◽  
Modern Culture ◽  
Cultural Images ◽  
Reality Show ◽  
Visible Images ◽  
The Given ◽  
The Invisible

The given article is analysing images of the invisible by example of sensory perception visual cultural images by a human being. Qualia, which is a problem phenomena in philosophical society, to this day, provoking discussions of the very fact of its existence, is embodied in art, and claim a human being not be, what he or she is really, but wants to be. Such a desire is expressed in an active position of art to intensify taste for life, adorn our reality, show an alternative for a possible development of a human being, who becomes a culture character. In culture, a great deal is based not on presentation of other worlds, but on their sensation of other worlds, and the latter changes his or her concept of the art visual constituent. Moreover, such a concept translates a new aesthetics of beauty through visible images, and the aesthetics raise a human being over his or her homeliness. In many respects, this phenomena is originated from semiotic practices of modern art, embedded the idea into human conscience as follows: He or she is always a creator and co-author of the all new, that is why, should strain every effort to endow art images with his or her symbolic sense and increase importance of the new. Facing an artwork, a human being raised its aesthetical status, attributing the art his or her individual senses, which his or her self-sentiment is traced with. At the same time, cultural images emphasise internal human beauty with its semiotic models; such a phenomena generates the modern idea of Kalokagathia, connected with aesthetics of being felt beauty.

scholarly journals Presence in Contemporary Religious Art Graham Sutherland and Antony Gormley

Perichoresis ◽  
2020 ◽  
Vol 18 (3) ◽  
pp. 77-89
Author(s):  
Wessel Stoker
Keyword(s):  
The Body ◽  
Religious Art ◽  
Christian Tradition ◽  
Christian Spirituality ◽  
Human Being ◽  
Christian Religion ◽  
The Difference ◽  
The Invisible

AbstractThis article analyses the topic of presence in modern and contemporary religious art by means of the work of two artists. Graham Sutherland’s Christ in Glory (1951-1962) will be compared to the Buddhism-inspired works of Antony Gormley. Sutherlands Christ in Glory is intended to show Christ’s presence to the involved observer: the invisible Christ can become present through interaction with Christ in Glory in the same way that Christ becomes present through prayer. Viewed in connection with other works by Gormley, Land, Sea, and Air II (1982) is intended to show presence to the viewer, the body as presence. This concerns an attitude of quiet concentration and awareness in connection with the ‘elemental’ world. Theologically speaking, the difference between Christ in Glory and Gormley’s works is as follows: the Christian tradition views the human being as a creation of God. He or she lives in his or her presence only in dependence on God. For Gormley, it has to do with a presence without God the creator. The human being is present as body and awareness in a world in which everything is uncertain. There is an unmistakable difference in their views of presence, but that does not mean, as we will see, that Gormley’s work cannot be fruitful for the Christian religion. Gormley’s Sound II in the crypt of Winchester Cathedral points the involved observer to the importance of the renewal of life after baptism through meditation as an important part of Christian spirituality.

From Glory to Glory

2019 ◽  
Vol 50 (2) ◽  
pp. 151-169
Author(s):  
Sean P. Robertson ◽  
Keyword(s):  
Imago Dei ◽  
Human Being ◽  
Human Beings ◽  
De Trinitate ◽  
Self Knowledge ◽  
The Devil ◽  
The Trinity ◽  
The Invisible

This article argues that, in De Trinitate, Augustine’s ascent to God via a search for the Trinity is successful precisely because of the emphasis he places on the role of Christ in such an ascent. Unlike scholarship which reads this ascent as an exercise in Neoplatonism—whether as a success or as an intentional failure—this article asserts that Augustine successfully discovers an imago trinitatis in human beings by identifying the essential mediation of the temporal and eternal in the person of the Incarnate Word. Of the work’s fifteen books, Books 4 and 13 focus extensively on the soteriological and epistemological role of Christ, who, in his humility, conquered the pride of the devil and reopened humanity’s way to eternity. The Christology in these books plays an important role in Augustine’s argument by allowing his ascent to move from self-knowledge to contemplation of God. Indeed, it is his understanding of the Christological perfection of the imago dei which allows Augustine to discover a genuine imago trinitatis in human beings. For Augustine, the imago is observable in humanity to the extent that an individual is conformed to Christ, the perfect image of the invisible God. Thus, it is only through Christ that a human being can successfully contemplate the Trinity in this imago.

scholarly journals INsideVisible Cities: Transcending Substance

Interiority ◽  
2018 ◽  
Vol 1 (2) ◽  
pp. 131-152
Author(s):  
Zarya Vrabcheva
Keyword(s):  
Built Environment ◽  
Mental State ◽  
Living Organism ◽  
Human Mind ◽  
The Other ◽  
Human Being ◽  
Intimate Connection ◽  
Other Hand ◽  
Inanimate Matter ◽  
The Invisible

The interior, as one of the most human and sensual forms of architecture, is an intimate connection with the built environment and a powerful tool in provoking and altering the human mind, stimulating its curiosity, desires and solutions by way of visible and ambient matter. I aspire to explore the sense of interiority as betweenness, a space of transition in which both the human and the architecture body transcend from one state to another through empathetic interaction. Empathy, besides the ability to feel and experience someone else’s emotions and mental state, also depicts our capacity to feel and experience situations, surroundings and non-living bodies. Interiority encounters three states of empathy in which our capacities of memory, imagination and illusion convey the invisible relationships we have with spaces and inanimate matter. Memory conveys the ability of both humans and space to encapsulate presence, activity and emotion through time. Imagination is our capacity to dream and inject a space with our own vision, shape and create new worlds. Illusion, on the other hand, forms a vigorous relationship with the human being through projecting its character and influence onto our minds. The interiority I seek to illustrate surpasses the rationalities, containment and materiality it is commonly related and rather stimulates curiosity in our being, revealing the qualities of a space as a living organism - growing, living, talking, affecting, absorbing, aging and eventually dying...

The Invisible Exit Sign

2006 ◽  
Vol 37 (2) ◽  
pp. 14
Author(s):  
ALAN ROCKOFF
Keyword(s):  
The Invisible

Review of Stillborn: The Invisible Death.

1987 ◽  
Vol 32 (1) ◽  
pp. 87-87
Author(s):  
No authorship indicated
Keyword(s):  
The Invisible

Illuminating the Invisible

1993 ◽  
Vol 38 (5) ◽  
pp. 508-509
Author(s):  
Karen L. Tucker
Keyword(s):  
The Invisible
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