scholarly journals Loomislugu filosoofias: hr Berkeley vastus Lady Percivalile

Mäetagused ◽  
2021 ◽  
Vol 81 ◽  
pp. 151-160
Author(s):  
Roomet Jakapi ◽  

The paper discusses George Berkeley’s metaphysical account of the Creation in his work Three Dialogues Between Hylas and Philonous (1713). As we know from Berkeley’s correspondence, his detailed attempt to show that his immaterialist philosophy is compatible with the Mosaic description of the Creation was occasioned by an objection from the wife of his friend Sir John Percival. According to Berkeley’s philosophy, only minds and ideas exist. Physical things such as books and trees are mere collections of ideas in human minds. No thing can exist unless there is a mind to perceive it. Yet the Mosaic story states that many things were created and existed before humans came into being. Lady Percival pointed out that Berkeley’s view makes it hard to understand how things could be created if there were no human beings around to perceive them. In response, Berkeley offered a sophisticated metaphysical construct in which the creation of the physical world is interpreted as God’s decree to produce certain kinds of ideas in potential perceivers. The paper aims to show how Berkeley’s response to Lady Percival’s objection reflects the complicated relationship between philosophy and revealed religion in the early 18th century. Berkeley’s commitment to biblical truth sets significant limits to his philosophical speculation.

Author(s):  
Pragati Garg

While creating the creation, God filled the beauty of the universe with unlimited beauty. It also contains beauty as well as spirituality. Art has been expressing the sentiments of human beings from the creation of the universe itself. Man has been expressing his feelings since time immemorial. As human senses developed, art also matured. All the forms provided by nature and the bizarre emotions and rasas evoked in our minds by the artists through different shelters or bases are embodied with the help of various Karan-implements. Epoch changes with inexorable change, and along with it, traditions, styles, language, forms all change, but the tangible form of soul and heart never changes. Just as colors were valued by the creation of life, colors have remained their dominion ever since. He changed but his main source did not change. The artist has made the plan of this original form the subject, and today he has set the paintbrush of the expressions expressing emotions on the threshold of renewal, which is presented to us in the form of digital art. Prior to the 18th century, there were scientific inventions that changed the nature of art itself, a variety of technological developments that gave the traditional art of modern art a renewal. What is today known as digital art, it is known by many names such as computer art, multimedia art and new media art, under which the colors used in traditional form are presented in a new form by digital technology. Do, which greatly affects the viewer. ईश्वर ने सृष्टि की संरचना करते समय सृष्टि के कण-कण में असीमित सौन्दर्य भर दिया। इसमें सौन्दर्य के साथ-साथ प्राणतत्व भी निहित है। कला मनुष्य के भावों को सृष्टि के सृजन से ही व्यक्त करती आयी है। आदिकाल से मनुष्य अपनी भावनाओं की अभिव्यक्ति करता आया है। जैसे-जैसे मानवीय संवेदना विकसित होती गयी, कला भी परिपक्व होती गई। प्रकृति द्वारा प्रदत्त सारे रूप और उन रूपों द्वारा हमारे मन में उद्बुद्ध विचित्र भाव एवम् रसों का कलाकार भिन्न-भिन्न आश्रयों या आधारों के माध्यम से विभिन्न करण-उपकरणों की सहायता से मूर्त करते हैं। निष्ठुर परिवर्तन के साथ युग बदलता है और उसके साथ-साथ परम्परायें, शैलियाँ, भाषा, रूप सभी परिवर्तित हो जाते हैं परन्तु आत्मा और हृदय का मूर्त स्वरूप कभी नहीं बदलता। जिस प्रकार रंगों का महत्व जीवन के सृजन से हुआ, तब से रंग अपना प्रभुत्व बनाये हुये हैं। उसका परिवर्तन तो हुआ परन्तु उसका मुख्य स्त्रोत नहीं बदला। कलाकार इसी मूल रूप की योजना को विषय बनाकर आज वह भावों को व्यक्त करने वाले तूलिका घातों को नवीनीकरण की ऐसा दहलीज पर खड़ा कर दिया है, जो डिजिटल आर्ट के रूप में हमारे समक्ष प्रस्तुत है। 18वीं शताब्दी से पहले वैज्ञानिकी अविष्कार हुये जिन्होंनें कला के स्वरूप को ही बदल दिया, कई प्रकार के तकनीकि विकास किये जिन्होंने परम्परागत चलते आ रहे कला को एक नवीनीकरण का स्वरूप दिया। जिसे आज डिजिटल आर्ट के नाम से जाना जाता है, इसे अनेक नामों से जाना जाता है जैसे- कम्प्यूटर आर्ट, मल्टीमीडिया आर्ट व न्यू मीडिया आर्ट कहा जाता है, जिसके अन्तर्गत हम परम्परागत रूप में प्रयुक्त रंगों को डिजिटल तकनीक द्वारा एक नये रूप में प्रस्तुत करते हैं, जो दर्शक को बहुत प्रभावित करता है।


Slovene ◽  
2017 ◽  
Vol 6 (2) ◽  
pp. 276-309
Author(s):  
Ekaterina A. Skvortcova

The journal created by David Fassmann (1683–1744), Gespräche in dem Reiche derer Todten, edited in Leipzig, was a huge success. Each of the 240 issues presents a dialogue between two historical figures from the afterworld. In the 83rd–86th Entrevuë, the interlocutors are Peter the Great and Ivan the Terrible. The texts of the four conversations were thoroughly examined by Eckhard Matthes (1987). The present paper explores how the illustrations to the 83rd–86th Entrevuë visualize the texts, which is significant as they were an important instrument for disseminating certain notions about Russia. While the illustration to the first dialogue of the suite juxtaposes Peter and Ivan, the illustration to the second one emphasizes the similarities between them. So the image of the “tyrant” and “barbarian” Ivan becomes a reference point with which a reader is urged to compare Peter’s deeds, seeing not only the differences but also the similarities. This greatly contributes to the creation of the multifaceted image of Russia of the early 18th century. The characters of the second illustration—a tiger and an executioner—can be identified as Ivan and Peter only if the reader takes into consideration an epigram to the illustration, the illustration to the previous dialogue, the text of the next Entrevuë, and facts about the execution of the strel’tsy known from other texts and images, about which Fassmann remains silent in the spirit of ars dissimulandi, which was typical for baroque culture. The paper offers an attempt to trace the iconography of the tyrant as a tiger. In the frontispiece to the 85th Entrevuë, a secretary bringing news from the world of the living and a portrait of Catherine I emphasize the connection of the past and the present, i.e., history and policy. Finally, the illustration to the last dialogue of the series returns to the glorification of Peter the Great declared in the first dialogue.


2020 ◽  
Vol 75 (1) ◽  
pp. 323-378
Author(s):  
David Allen ◽  
Briony A. Lalor ◽  
Ginny Pringle

This report describes excavations at Basing Grange, Basing House, Hampshire, between 1999 and 2006. It embraces the 'Time Team' investigations in Grange Field, adjacent to the Great Barn, which were superseded and amplified by the work of the Basingstoke Archaeological & Historical Society, supervised by David Allen. This revealed the foundations of a 'hunting lodge' or mansion built in the 1670s and demolished, and effectively 'lost', in the mid-18th century. Beneath this residence were the remains of agricultural buildings, earlier than and contemporary with the nearby Great Barn, which were destroyed during the English Civil War. The report contains a detailed appraisal of the pottery, glass and clay tobacco pipes from the site and draws attention to the remarkable window leads that provide a clue to the mansion's date of construction. It also explores a probable link with what was taking place on the Basing House site in the late 17th and early 18th century.


Trictrac ◽  
2016 ◽  
Vol 9 ◽  
Author(s):  
Liliana Danciu ◽  
Petru Adrian Danciu

The axes of the creation and birth of the imaginary as a mythical language. Our research follows the relationships of the concepts that are taking into account creation on the double axis of verticality and horizontality. We highlight those symbolic elements which would later constitute the mythical language about the sacred space-temporality. Inside this space-temporality a rich spectrum of mythical images develops; images capable of explaining the relationships of the creation plans. Without a religious perception of the temporality, the conceptualization of the axis would remain a philosophical approach. Through our point of view, the two are born simultaneously. Thanks to them, creation can be imagined. The first “frozen” formula of the mystical human spirit can be thought, brought to a palpable reality, expressed in an oral and then a written form. Studied together, temporality (sacred or not) and space are permanently imagined together. For example, a loss of mundane temporality in the secret ecstasy that offers to the soul an ascending direction does not mean getting out of universal temporality, but of its mundane section. In the sacred space the soul relates to time. Even the gods are submitted by the sacred, Aeon sometimes being synonymous to destiny. The universal creator seems to evade every touch, but not consistently, only when he avoids the descent into its created worlds. In sacredness, time and space seem or become confused, both expressing the same reality, by the immediate swing from thinking to deed. The mythical imagery conceives the displacement in the primary space-temporality by the spoken word. So, for something to appear and live, the spoken word is required. Even the divine dream appears as a pre-word of a creator’s thought. The thought follows the spoken word, the spoken word follows the gestures which finally indicate the meanings of the creative act, controlling the rhythm of the creation days. These three will later be adapted through imitation in rite. We are now situated at the limit of the physical world, a real challenge for the mythical imagery. The general feature of the mythical expression on the creation of the material world is the state of the divinity’s exhaustion, most often conceptualized by sacrifice or divine fatigue. The world geography identifies with the anatomy of a self-gutted god. Practically, material creation is most likely the complete revelation of God’s body autopsy. As each body decomposes, everything in it is an illusion. An axial approach of the phenomenon exists in all religious systems. The created element’s origin is exterior, with or without a pre-existing matter, by a god’s sacrifice or only because it has to be that way. This is the starting point of the discussion on the symbolism of axiality as a reason for the constitution of the language of creation, capable of retelling the imaginary construction of myth in an oral and then written form.


2018 ◽  
Vol 2018/2 ◽  
pp. 31-53

DESIGNATION OF JUDICIAL DOCUMENTS IN THE THIRD STATUTE OF LITHUANIA AND THE ATTRIBUTES OF THEIR EVOLUTION ADAM STANKEVIČ The author of the article analyses the designation of documents drawn up and issued by the court, their conception, field of application, and place in the court procedure as presented in the Third Statute of Lithuania (TSL). In addition, an attempt is made to exhibit the changes that such documents and their designations underwent in later centuries (until the end of the 18th c.) by means of the example of the Lithuanian Tribunal. The research revealed that documents which in the sources from different periods were referred to by the same name meant different things or were simultaneously attributed several meanings. In the 17th-18th century, only part of the terms featured in the Third Statute of Lithuania were used in the judicial practice of the Lithuanian Tribunal, and with time some of them were replaced with other terms. Several terms denoting summonses (pozew, mandat, zakaz) can be identified in the TSL, and all of them were in use until the very end of the 18th century. However, a single term – dekret / decretum – was used to designate the judgement (actually, for some time there was a differentiation between the court judgement and its procedural summary, but later the generalized term for the judgement prevailed). A number of documents in the TSL are referred to as the “open letter”, however, later some of them acquired specialised names (e.g. the power of attorney). With time, there were certain changes in the context in which some of the terms were used (e.g. the term “cedule” which in the 18th century was already consistently used exceptionally in a particular situation, namely when a litigant refused to obey the order of the court and informed in writing a judicial officer of such refusal) or the terms themselves underwent certain changes (in the 18th century the term membran was substituted with the term blankiet). Part of the judicial documents mentioned in the TSL disappeared in the long run or there was a certain decrease in their significance (this is true of the reminder and adjournment documents as well as glejt (protection letter)). The examples above suggest that the Lithuanian Tribunal would sometimes issue reminders and guarantee documents, though legal acts did not explicitly provide for that. The TSL offered a number of terms hardly related with the investigation of a case, therefore in the early 18th century, with the improvement of judicial procedures, they underwent rapid changes. The procedure of the implementation of a court ruling, which underwent significant changes, is accountable for the introduction of new terms, for example, with time several terms pertaining to the notification of the litigants were used simultaneously (obwieszczenie, innotescencyja, list tradycyjny). Most probably due to the unification processes observed in the Polish-Lithuanian Commonwealth in the 18th century, a number of Latin origin terms were introduced in the judicial practice of the GDL, e.g. cytacyja, decyzyja, innotestencyja, plenipotencyja, obdukcyja, wizyja, inkwizycyja, weryfikacyja, kalkulacyja, tradycyja (all of them had been used in Poland but were not featured in the TSL).


2019 ◽  
Vol 24 (2) ◽  
pp. 343-367
Author(s):  
Roberto Paura

Transhumanism is one of the main “ideologies of the future” that has emerged in recent decades. Its program for the enhancement of the human species during this century pursues the ultimate goal of immortality, through the creation of human brain emulations. Therefore, transhumanism offers its fol- lowers an explicit eschatology, a vision of the ultimate future of our civilization that in some cases coincides with the ultimate future of the universe, as in Frank Tipler’s Omega Point theory. The essay aims to analyze the points of comparison and opposition between transhumanist and Christian eschatologies, in particular considering the “incarnationist” view of Parousia. After an introduction concern- ing the problems posed by new scientific and cosmological theories to traditional Christian eschatology, causing the debate between “incarnationists” and “escha- tologists,” the article analyzes the transhumanist idea of mind-uploading through the possibility of making emulations of the human brain and perfect simulations of the reality we live in. In the last section the problems raised by these theories are analyzed from the point of Christian theology, in particular the proposal of a transhuman species through the emulation of the body and mind of human beings. The possibility of a transhumanist eschatology in line with the incarnationist view of Parousia is refused.


Author(s):  
Jordan Wessling

This book provides a systematic account of the deep and rich love that God has for humans. Within this vast theological territory, the objective is to contend for a unified paradigm regarding fundamental issues pertaining to the God of love who deigns to share His life of love with any human willing to receive it. Realizing this objective includes clarifying and defending theological accounts of the following: • how the doctrine of divine love should be constructed; • what God’s love is; • what role love plays in motivating God’s creation and subsequent governance of humans; • how God’s love for humans factors into His emotional life; • which humans it is that God loves in a saving manner; • what the punitive wrath of God is and how it relates to God’s redemptive love for humans; • and how God might share His intra-trinitarian love with human beings. As the book unfolds, a network of nodal issues are examined related to God’s love as it begins in Him and then overflows into the creation, redemption, and glorification of humanity. The result is an exitus-reditus structure driven by God’s unyielding love.


2021 ◽  
Vol 52 (2) ◽  
pp. 147-167
Author(s):  
Christopher M. Graney

This paper discusses measurements of the apparent diameter and parallax of the star Sirius, made in the early 18th century by Jacques Cassini, and how those measurements were discussed by other writers. Of particular interest is how other writers accepted Cassini’s measurements, but then discussed Sirius and other stars as though they were all the same size as the sun. Cassini’s measurements, by contrast, required Sirius and other stars to dwarf the sun—something Cassini explicitly noted, and something that echoed the ideas of Johannes Kepler more than a century earlier.


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