Direito canônico e processo penal: colaboração processual na busca pela verdade

Este artigo objetiva demonstrar a possibilidade real de colaboração processual entre o estado laico e os Tribunais Eclesiásticos. Como objetivos específicos tem-se mitigar alguns pontos desconhecidos, aproximando as possibilidades práticas e teóricas acerca de complementação e colaboração processual. Como resultados da pesquisa notou-se que mesmo diante de evidentes singularidades, é possível a colaboração entre as duas instituições, cujo livre convencimento para julgar suas lides com base nas provas licitamente obtidas na instrução processual, tanto na esfera processual penal quanto na esfera eclesial são regidas por um mesmo objetivo, visando o princípio da busca pela verdade real. This article aims to demonstrate the real possibility of procedural collaboration between the secular state and the Ecclesiastical Courts. As specific objectives, some unknown points have been mitigated, approaching practical and theoretical possibilities about complementation and procedural collaboration. As a result of the research, it was noted that even in the face of obvious singularities, collaboration between the two institutions is possible, whose free conviction to judge their disputes based on the evidence lawfully obtained in the procedural instruction, both in the criminal procedural sphere and in the ecclesial sphere. governed by the same objective, aiming at the principle of the search for the real truth.

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Small Revelations, … Maybe Not Even with an Apocalyptic Tone

This article tries to be funny in a very serious way, following Virginia Woolf’s call in Three Guineas that, in the face of man-made disasters, we may have to make fools of ourselves in relation to common sense. Apocalypses, such as the Anthropocene, climate change, and mass extinction require—like the Second World War that Woolf refused to simplify—a tentative search for knowledge, not controlling and predictable methods in the search for a solution. The article is based on how Jacques Derrida’s discussion with Immanuel Kant regarding how truth should sound before the apocalypse over the years has increasingly come to describe contemporary doxa, within which there is only room for mystagogues, who inaugurate followers in the “real truth” behind “fake news”, or scientisticists, who believe that facts and truth are the same thing. When Derrida shows how these two positions depend on each other, sharing the modern belief that knowledge is associated with development, boundaries and control, he also shows how this narrows knowledge down to the predictable, and, thus, makes it complicit with the mistaken efforts of control responsible for today’s challenges. Against this background, the article analyzes works by the artist, Eva Löfdahl, and links them with questions concerning connections between truth, knowledge, art, and science.

Infodemik Covid-19 dalam Perspektif Jean Baudillard (Studi Kasus Berita Hoaks Covid-19 di Website covid19.go.id)

- The development of Information Technology which has impacts on the ease of producing and accessing information has caused the rapid circulation of information in the community. However, the circulation of this information does not completely contain the truth. Hoax information is intentionally produced and spread to the public through various application platforms aimed to distorting the facts so that the information is believed to be the real truth. This condition can be seen from the ease people share the information they receive through their smart devices to a number of people closest to them or to groups or community wherr they participate in. This research is a descriptive qualitative research. The data in this study was carried out by analyzing hoax news mapping data collected by the covid-19 handling task force through the covid19.go.id website obtained through the Indonesian Anti-Defamation Society (Mafindo). The news data and hoax information in the form of verbal and visual were analyzed with a qualitative content analysis approach to analyze how the hoax phenomenon during this pandemic was deliberately created and spread by the public.Furthermore, the results of the analysis are examined with the perspective of Jean Baudillard's simulacra and hyperreality. The result shows that information as the main product of the information society is no longer dominated by information producers such as television and newspapers, but now anyone who has a device and is connected to the internet can produce information. The impact of this is that humans are trapped in false reality and dwell on duplication and superficiality. Keyword: information technology, hoax covid-19, simulacrum jean baudillard

Teaching intercultural competence: Dialogue, cognition and position in Luke 10:25–37

This research aimed to know the intercultural competency teaching model of Jesus (Teacher) using a parable technique based on Luke 10:25–37 to improve intercultural competence. The authors used a method of diacognitive analysis with three lenses that include dialogue, cognition and position. The results of the study have shown that the application of the parable technique can improve the competence of intercultural students (the expert in the law) towards people with different cultures (Samaritan), as well as increase the understanding and awareness that love is the basis of intercultural competence, compassion as an internal outcome and must act as an intercultural agent. The teacher’s pyramid model of intercultural competence moves from love, attitude, knowledge, skill, internal outcome, external outcome and becomes an intercultural agent.Contribution: Research on Luke 10:25–37 has shown that the parable technique can improve students’ intercultural competence based on love and compassion. Teachers can apply parable techniques to attract, encourage, and stimulate the student’s active involvement to think critically and perform interpretations to discover the real truth in the context of cultural differences.

On “Real Truth” and “Higher Truth” in the Art Criticism of F. M. Dostoevsky

The article deals with the art reviews of F. M. Dostoevsky. Based on the analysis of the articles “Exhibition at the Academy of Arts for 1860–61” and “About the Exhibition” published in “A Writer’s Diary” for 1873, the aesthetic criteria for Dostoevsky’s assessment of genre, historical, portrait and landscape Russian painting are determined. The author of the article reveals the most important criteria outlined by Dostoevsky: the expression of the author’s ideal that distinguishes a painting from mirror reflection and photography; the artist’s independence from direction, excessive naturalness, theatricality and “excessive showiness”. Particular attention is paid to Dostoevsky’s analysis of paintings by V. N. Jacobi, V. G. Perov, V. E. Makovsky, N. G. Sсhilder, M. P. Klodt, I. E. Repin, A. I. Kuindzhi, N. N. Ge, whose work aroused genuine interest of the writer and prompted reflections on artistic truth in art. The characters of the paintings as presented by Dostoevsky come to life, acquire a “history of feelings”, a psychological appearance and a voice. The work distinguishes between such concepts used by Dostoevsky to analyze contemporary painting for the writer in the light of “realism in the highest sense”, such as “natural truth”, “real truth”, “stage truth”, “artistic truth”, “higher truth”.

The Morning of a Lady of the Manor as a Programme Work of Alexey Venetsianov. On the Issue of the Academic Method in the Artist’s Theory and Practices

The Morning of a Lady of the Manor (1823) by Alexey Venetsianov embodies a veiled polemic of the artist with representatives of the academic school of painting concerning the academic method. The work demonstrates not only the painter’s credo, but also his possible steps on adjusting the educational system of the Imperial Academy of Arts. He occupied an intermediate position between the supporters of mindless copying of nature and the banal poses of classical statues. Here, he tried to prove the fruitfulness of the true academic method of creating a composition based on the characters (types) of “graceful nature”, the storehouse of which was the art of his famous predecessors. The work contains references to notable images of the indisputable authorities of academic classicism: Raphael Santi and Anton Raphael Mengs. The ancient art is also presented here both by a statuette of the Crouching Venus and its pictorial recreation: a peasant woman in the same attitude. The images which had served as the basis for Venetsianov’s visual metaphors were well-known to the professors of the Academy because they were literally right before their eyes — in the Hermitage. The picture by Venetsianov, on the one hand, demonstrates his commitment to academic values, first of all to сlassical art that had inspired both Raphaels as well as Winckelmann, an outstanding theorist of neoclassicism. Behind Venetsianov’s figures, we can also see the images of those “three Greek Venuses”, about which he later wrote in his theoretical notes Something about the perspective: Aphrodite Medici, Venus of Taurida (which in fact hides the type of Venus of Milo) and the Crouching Venus. On the other hand, the amazing skill of animating ancient statues by assimilating them into painting à la Natura was meant to attest to the real truth of his artistic method.

Evolving Dharma Consciousness of Dharmaputra Yudhishthira within the Mahabharata

The objective of the paper to comprehend a deep implication of what dharma meant to Yudhishthira through the length of historical events related to war and philosophical questioning on the issue. He had to fight through so much in terms of pitting his intuitive understanding of dharma against a whole gamut of mundane ideas of what dharma stood for. For instance, his struggle with his brothers on the complexity of svadhrama and its rejoinder in form of sukshadharma or knowledge of subtle consciousness. His inner conflict continued and there came a time in the last parva, Svargarohana parva, when he just denounced dharma. It was through these trials and tribulations that Yudhishthira was finally able to evolve his own idea of what real truth, conduct, duty, morality and inner consciousness were about. In other words what was true dharma. Through this paper the author attempts to tease out complexities of the philosophical queries that bothered Yudhishthira and also trace his historical trajectory in the quest. The method of investigation would include historicizing the text. This means locating our source, the Mahabharata, on a time line and within a geographical expanse so that we get an idea when the logic of dharma mutated and in what particular region. The text had an expansive period of formulation right from the 8th Century BCE to 4th Century CE, that is, what we understand as the Gupta period. But the text had many later regional recensions as well. We are primarily looking at the older Sanskrit version of the text as recorded in V.S.Sukthankar edited Critical edition (Bhandarkar Oriental edition, Poona) of the Mahabharata. The exercise also requires reading of the magnum opus, locating the usage of the term in association with Yudhishthira and raising some significant issues. These may include queries such as what is dharma according to the Mahabharata. Is definition fixed or is it dynamic? Do all people speak of it with the same voice? Is the notion of dharma same for Yuthishthira and his Pandava brothers? Does his wife. Draupadi, subscribe to his idea of dharma? If his notion of dharma changes over time, does it have anything to do with changing consciousness of the society or at least some people within the society? Can we get a sense of a subtle move towards a shift from karma yoga to jnana yoga and finally to bhakti yoga? In this changing paradigm where do we locate the dharma philosophy of Dharmaputra Yudhishthira, especially as there comes a time when he himself begins questioning the idea of dharma? In a sense his character brings out the dilemmas arising out of the differences in meanings and approaches of comprehending the complexities associated with the concept of dharma. Another point of our methodology would be to understand the etymology of the term dharma and its location in the ancient language. The Sanskrit root of the word is dhr, 'to support', 'to sustain'. In other words, it means that whereby whatever lives, is sustained, upheld, supported. More often than not, the word dharma in its ancient usage denoted the moral realm in its widest sense, meaning both morality as an ideal— man's eternal quest for the good, the right, the just—as well as the given, actual framework of norms, rules, maxims, principles that guide human action. It was integral to the doctrine of purushartha or that of the four goals of a human being; these being artha (success/material possessions), kama (passion/procreation), dharma (virtue/religious duty), moksha (self-perfection). All the four are intertwined. Throughout the epic we witness the evolution of Yudhishthira’s notion of true dharma. What comes out strongly is his holding fast to the value of nonviolence (anrishṃsya), his identification with the sukshma or subtle nature of dharma, his insistence on constricted use of brute force as a part of Kshatriya dharma, his ultimate benevolence towards his family and people. These were actually revealed to be the cause of his indisputable success in Dharma’s recurrent tests. Somewhere by the end of the epic, Yudhishthira’s error in entering into the game of dice, getting in conflict with his brothers on the issue of his duty and not being able to answer Draupadi’s queries initially appear as stepping stones in self-realization to a deeper understanding of what dharma as duty, conduct, search for truth and morality were all about. The orderly world of dharma, which was so central to his character, was eventually arrived at only through repeated trials and tribulations

Hubungan Agama dan Budaya pada Masyarakat Gampong Kereumbok Kabupaten Pidie, Provinsi Aceh

This research paper (article) aims to reveal the correlation between religion and culture of “Keureumbok village” community based on the theory proposed by Geertz. The researcher investigated the paradigm displayed through an interpretive anthropological context to pinpoint religion as a system consisting of various symbols that have meaning. According to Geertz, religion is labeled as a system of symbols that exists and constructs cultural patterns, which in turn can form a model. In other words, religion is a model for reality (truth), which can only be perfectly and precisely acquired through interpretations. An interpretative method is a way that socially presents and scrutinizes empirical data about the real truth (reality), or social fact. The more sources can be collected, the higher the trust will be earned. In the case of religion and culture in the lay community of “Keureumbok village” in Aceh, the researcher viewed that the link was more closely related. It is found that “Keureumbok” people rely more on religious symbols, which are the manifestations of cultural elements. People, who previously value religion, instead decide to blend in religious life to avoid being shunned from the community to such an extent that religion and culture are interconnected in Aceh. Surprisingly, cultures dominantly play a role in society than in religious values. AbstrakArtikel ini bertujuan melihat kaitan agama dan budaya pada masyarakat Gampong Keureumbok berdasarkan teori yang diungkapkan oleh Geertz. Peneliti mengkaji kerangka pemikiran yang ditampilkan melalui konteks antropologis interpretatif. Untuk memahami agama sebagai suatu sistem yang terdiri atas berbagai simbol yang mempunyai makna. Menurut Geertz agama dideskripsikan sebagai suatu sistem simbol-simbol yang ada dan membuat pola-pola budaya, yang pada gilirannya dapat membentuk model. Dengan kata lain, agama adalah model untuk realitas hanya dapat diperoleh dengan baik dan tepat melalui cara-cara interpretasi. Metode interpretatif adalah sesuatu cara yang menyajikan dan menjelaskan data empiris secara sosial mengenai kenyataan yang sesungguhnya (realitas), social fact (fakta sosial). Semakin banyak sumber laporan maka akan muncul kepercayaan yang tinggi terhadap laporan tersebut. Refleksi penulis dalam kasus agama dan budaya pada masyarakat awam di Keureumbok Aceh, lebih erat kaitannya. Penulis menemukan bahwa masyarakat Keureumbok lebih percaya pada symbol agama yang merupakan manifestasi dari unsur budaya. Masyarakat yang sudah memahami agama justru memilih melebur dalam kehidupan keagamaan, agar tidak dikucilkan dari kelompok masyarakat, sehingga di Aceh agama dan budaya saling terkait dan bahkan lebih dominan budaya yang berperan dalam masyarakat dari pada nilai-nilai agama.