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 The Divine Feminine Presence in Ibn ‘Arabi and Moses de Leon

Religions ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 156
Author(s):  
Julia Alonso
Keyword(s):  
Germinal Vesicle ◽  
Subsequent Development ◽  
Tree Of Life ◽  
Human Being ◽  
Divine Feminine ◽  
Common Goal ◽  
Sacred Geometry ◽  
The Creation ◽  
Ibn Arabi

This paper is an investigation of the divine feminine power as depicted in the texts of Hispanic mystics from Sufi, Hebrew, and Christian traditions. This work is intended to investigate the origin and subsequent development of a transcendent reconciliation of polarity, its diverse manifestations, and the attainment of a common goal, the quintessential of the Perfect Human Being. The architect of the encounter that leads to Union is “Sophia.” She is the Secret. Only those who are able to discern Her own immeasurable dimension may contemplate the Lady who dwells in the sacred geometry of the abyss. Sophia is linked to the hermetic Word, She is allusive, clandestine, poetic, and pregnant with symbols, gnostic resonances, and musical murmurs that conduct the “traveler” through dwellings and stations towards an ancient Sophianic knowledge that leads to the “germinal vesicle,” the “inner wine cellar,” to the Initium, to the Motherland. She is the Mater filius sapientae, who through an alchemical transmutation becomes a song to the absent Sophia whose Presence can only be intuited. Present throughout the Creation, Sophia is the axis around which the poetics of the Taryuman al-ashwaq rotates and the kabbalistic Tree of Life is structured.

Telluride and After

2021 ◽  
Vol 75 (2) ◽  
pp. 102-108
Author(s):  
B. Ruby Rich
Keyword(s):  
New York ◽  
Film Festival ◽  
Center Stage ◽  
Kenneth Branagh ◽  
Todd Haynes ◽  
Telluride Film ◽  
Velvet Underground ◽  
The Many ◽  
First Time

FQ editor-in-chief B. Ruby Rich reports from the 48th edition of the Telluride Film Festival. Unlike most of its peer festivals, Telluride opted not to hold a virtual edition in 2020, a decision entirely in keeping with its emphasis on the tactile and experiential aspects of cinema, and which made its return in 2021 all the more giddy for first-time attendees and long-term devotees alike. Rich reviews the many festival highlights, from Jane Campion’s reinvention of the Western in The Power of the Dog to Todd Haynes’ archival documentary The Velvet Underground. Childhood takes center stage in new films from Céline Sciamma and Kenneth Branagh while misunderstood masculinity emerges as a theme in Michael Pearce’s Encounter, Asghar Farhadi’s A Hero, and Mike Mills’s C’mon C’mon. Including a coda on the New York Film Festival, Rich concludes that the masterful riches of the two festivals augur well for the fall 2021 season.

Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

2021 ◽  
Vol 66 (1) ◽  
pp. 329-343
Author(s):  
Liudmyla Shapovalova ◽  
Іryna Romaniuk ◽  
Marianna Chernyavska ◽  
Svitlana Shchelkanova
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Accurate Identification ◽  
Philosophy Of Music ◽  
Philosophical Concept ◽  
Avant Garde ◽  
The Third ◽  
Ninth Symphony ◽  
Human Ontology ◽  
First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

scholarly journals KONSEP MANUSIA SEMPURNA MENURUT PANDANGAN FRIEDRICH WILLIAMS NIETZSCHE DAN IBNU ARABI; SEBUAH ANALISA KOMPARATIF

2020 ◽  
Vol 20 (1) ◽  
pp. 69
Author(s):  
Derry Ahmad Rizal
Keyword(s):  
The Other ◽  
Human Being ◽  
Human Beings ◽  
Other Hand ◽  
Ibn Arabi

This paper aims to do a study of the concept of a perfect human being by taking two corners of the field of characters, Friedrich Williams Nietzsche and Ibn ‘Arabi. In this case the two figures convey their thoughts on how to become perfect human beings. Nietzsche who gives a view about humans must be able, strong and be themselves in facing all their problems. Making humans superior in Netzsche's view. On the other hand Ibn Arabi who explained about the nature of being a perfect human being, and humans themselves are a reflection of the formation of a real God on earth. The level in achieving goals as a perfect human being. The categorization of macrocosm and microcosm in looking at differences in "humans".

scholarly journals Karlovy Vary 2004

2004 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Outstanding Contribution ◽  
Film Festival ◽  
Vaclav Havel ◽  
Roman Polanski ◽  
World Cinema ◽  
Official Opening ◽  
Artistic Director ◽  
First Time ◽  
To Receive ◽  
Political Figure

KARLOVY VARY INTERNATIONAL FILM FESTIVAL 2004 For the Czech media the 39th Karlovy Vary International Film Festival (2-10 July 2004) was something of a sensation. Václav Havel, the country's ex-president and most popular political figure, was on hand for the official opening to receive a moving standing ovation. Later, Václav Klaus, the current Czech president, also showed for the closing ceremonies. To add to the festivities, Miroslav Ondříček, Miloš Forman's ace cameraman (Oscar Nominations for Amadeus and Ragtime) was honoured with an Award for Outstanding Artistic Contribution to World Cinema (together with Harvey Keitel and Roman Polański). The Prize of the Karlovy Vary Region was given for the first time to Jiří Bartoška, the festival codirector. And the Ecumenical Jury honoured Eva Zaoralová, the festival's artistic director, an Award for Outstanding Contribution to the Karlovy Vary International Film Festival. For the second time in a row, the Crystal Globe,...

scholarly journals Istanbul 2007

2007 ◽  
Author(s):  
Gönül Dönmez-Colin
Keyword(s):  
International Competition ◽  
Film Festival ◽  
Literary Works ◽  
The Us ◽  
The World ◽  
First Time

ISTANBUL INTERNATIONAL FILM FESTIVAL Istanbul International Film Festival (31 March-15 April 2007) celebrated its 26th birthday this spring with more than 200 films from around the world. This year, for the first time in its history, the festival opened with a film by a Turkish director, Ferzan Özpetek although the Italian production Saturn Opposite about depressed 40-year olds nostalgic about their youth, featuring some of the well-known actors of Italy could hardly be considered a Turkish film. The closing film was the US production, The Good German by Steven Soderbergh featuring George Clooney and Cate Blanchett. The films that compete for the Golden Tulip award are chosen for their relation to art and the artist or are adaptations from literary works. The fact that Istanbul takes place shortly before Cannes makes it rather difficult to find quality films for the International Competition, which had not been previously screened elsewhere....

scholarly journals The Cinema of Manie van Rensburg (Part 1)

1997 ◽  
Author(s):  
Martin P. Botha
Keyword(s):  
United States ◽  
South Africa ◽  
New York ◽  
South African ◽  
United States Of America ◽  
The United States ◽  
Film Festival ◽  
African Film ◽  
First Time

INTRODUCTIONThe name, Manie van Rensburg, is virtually unknown in Europe and the United States of America. Recently, some of his work was screened at a South African film festival in Amsterdam at the Kriterion cinema and I had the honour to present a lecture there on 7 October 1995 regarding Van Rensburg and his presence in the cinema. His film work was also highlighted in a small retrospective during October 1996 at the Vrije Universiteit Brussel. IT WAS NOT THE FIRST TIME a Van Rensburg film was screened outside the borders of South Africa. During the 1980s Van Rensburg received an International Film Festival of New York award for his historical TV drama series, Heroes, and a Merit Award from the London Film Festival was given to him for his filmed play, The Native who Caused all the Trouble. His mammoth production, The Fourth...

scholarly journals The Origin of Labour Camp Theme in A.I. Solzhenitsyn’s Works: from Poetry to The Gulag Archipelago

2021 ◽  
Vol 6 (2) ◽  
pp. 238-263
Author(s):  
Nadezhda I. Glukhova ◽  
Nellya M. Shchedrina
Keyword(s):  
Present Article ◽  
Personal Experience ◽  
Political Prisoners ◽  
Human Being ◽  
Starting Point ◽  
History Of ◽  
Narrative Poem ◽  
First Time ◽  
Labour Camp ◽  
Gulag Archipelago

In the present article A.I. Solzhenitsyn’s poetic works and The Gulag Archipelago are analyzed, their proximity and thematic kinship are revealed. The authors appeal to the creative history of these works, remark that poems and parts of the Archipelago are arranged according to a certain pattern. Both in poetry and prose, Solzhenitsyn reveals the path taken by Soviet convicts. Camps for political prisoners and I.V. Stalin’s death take significant place in his works. A.I. Solzhenitsyn is particularly interested in the unity of heroes with nature, communion with it as with an attribute of free people’s life. The writer claims that the camp may become a starting point for spiritual resurrection of a human being. Metaphorization as one of the artistic elements is used for the first time in lyrics to reveal the image of Russia. The authors conclude that the camp theme arose during Solzhenitsyn’s imprisonment and was first expressed in lyrics and the narrative poem Dorozhen’ka. The Gulag Archipelago was formed later not only from the personal experience of the author but also from numerous materials and evidence of eyewitnesses.

Hvad er oplysning?

2018 ◽  
pp. 147-166
Author(s):  
Michel Foucault
Keyword(s):  
Modern Philosophy ◽  
Historical Analysis ◽  
Human Being ◽  
Collège De France ◽  
Historical Being ◽  
The Moment ◽  
First Time

”What is enlightenment” was originally a lecture Foucault gave at the Collège de France on January 5, 1983. It was published for the first time in The Foucault Reader (1984) and subsequently in the French journal Magazine litteraire in May 1984. Immanuel Kant’s question ”What is enlightenment?” was something that interested Foucault deeply in the last years of his life. Supposedly, he also suggested a smaller conference to discuss the question 200 years after Kant for the first time had tried to answer it in 1784 but the conference never materialized. In this article Foucault reflects on the human being and its relationship to itself as a historical being and how Kant’s text about enlightenment is a question of the present. Enlightenment is to Kant the moment when humanity puts its own reason to use without subjecting itself to authority and to Foucault, Kant’s characterization is an outline of the attitude of modernity and modern philosophy as a way of answering the question: what is enlightenment? To Foucault, this becomes a question of enlightenment and modernity as a permanent critique of the present and of our historical era. This philosophical stance represents a certain attitude, an ethos, where the critique of what we are is at the same time a historical analysis of the limits which are imposed on us and an experiment with the possibility of transgressing them.

The Invisible Transformation Of Local Government In Queensland

1995 ◽  
Vol 2 (1) ◽  
pp. 67-75 ◽  
Author(s):  
Doug Tucker
Keyword(s):  
Local Government ◽  
First Time ◽  
The Invisible

In 1993, Queensland's Local Government Act was revised for the first time since 1936. This paper is born of a realisation, based on research sponsored by the Local Government Association of Queensland, that much less is known and understood about the development of local government in Queensland than we have previously believed. The consequences of this are particularly serious at present, because important changes are currently being made to local government features on the basis of a very imperfect understanding of the role, operation and significance of those features. In this paper, I deal with an important aspect of the territorial dimension of local government, and point to the contemporary significance of a deeper appreciation of the development of local government from the territorial perspective.

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