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Benjamin Franklin, throughout his life, demonstrated an ambiguous attitude toward the interaction between religion and science, as evidenced directly in his celebrated Autobiography, as well as indirectly in lesser-known writings such as his technical papers on the nature of the electrical charge. This paper argues, based on the poststructuralist work Anti-Oedipus by Gilles Deleuze and Felix Guattari, that Franklin’s view of science and faith can be explained by assuming that both the religious devotion of his clerical peers and his own scientific enterprise were the consequence of “desire-production”. In other words, the objections of organised religion to science that were still a part of Franklin’s world in the mid-18th-century may have been little more than the power-brokering that is so central to the human enterprise. This intrinsic drive to dominance is epitomised by Deleuze and Guattari as the Oedipal imposition on human individuality that is so characteristic of modern psychoanalysis, when in actuality it is a tool of capitalist society. If Franklin managed to circumvent these powerful factors, then he also sidestepped the traditional dichotomy between the natural world and culture, thereby avoiding the blatant contradictions between the will to scientific knowledge and technological prowess, on the one hand, and the will to submit society to divine punishment, on the other.
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We will try to link Merleau-Ponty’s interpretation of the body-subject with the idea of mediation. The body thus becomes the mediating part of the human body towards the human body, human body and the world, and also human body and the Being. Within the phenomenological field of network interaction there is a corporate intersubjective game, usually speaking, between the man and the nature, in which man is constituted by nature as nature is constituted by man, and all this through technique as something that is yet to be.
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“What is the benefit of the human if he obtains the whole world and damage the soul? Or what kind of ransom will give the man for his soul?” (Mt 16, 26, Mk 8, 36-37).The goal of the human life is the salvation of the soul. The human must save his soul from the harmful sights. The aim of this paper is to research how the television as mass media influence on the human soul. Thus, the author analyzes the influence of television on the mind, wish and will of the human that is exposed to media contents. In the paper are offered conclusions about the negative effects of television on human souls and it is recommended selective and as short as possible exposure to television programs.
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A narrative approach in religious education is presented here in the context of social polarization in the contemporary world. Its dialogical potential is derived by the author from the theological legacy of H. Richard Niebuhr.
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The article is dedicated to the problem of using reduced myth fragments at the formal level of fantastic literature. Despite the fact that the fantasy genre is the most consistent and traditional in the works of contemporary Ukrainian and Polish writers, the science fiction genre is still popular,. Therefore, certain genetic links and codes remain within the scope of the researchers. Мythology may be the one of such a codes. The variants of the fragmentary use of myth are exemplified in the works of K. Trukhanovsky and O. Berdnyk. Slavic fantasy SF literature is overshadowed by the world-renowned classics of the genre. Nevertheless, it also deserves the close attention of researchers.
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There is much evidence suggesting that the legacy of Modernist design in architecture and urbanism, based on stale assumptions and exhausted ideology of Le Corbusier and his followers, has reached its dead-end and that a new paradigm for rethinking urbanism is badly needed. Though there had been various ways of dealing with the legacy of Modern urbanism, and many urban planners as well as urban designers choose different ways of approacing their subject, this legacy still largely dominates in the global urban landscapes. Nikos A. Salingaros, an internationally renowned mathematician and physicist turned into urban theorist and critic has developed completely new intelellectual tools to deal with problems of urban spaces. His theoretical framework introduces challenging possibilities of renewing current architectural and urban theory as well as thr practice of urban design. Being strongly associated with the thinking of renowned architectural theorist and practitioner Christopher Alexander, he nevertheless constructed important theoretical concepts of his own and his theoretical findings can be applied while solving a large number of urgent urban problems. The article examines his concepts and ideas of urban design and city-making and practical suggestions.
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Review of: Herder Handbuch. Hrsg. von Stefan G r e i f , Marion H e i n und Heinrich C l a i r m o n t . Wilhelm Fink. Paderborn 2016. 858 S. ISBN 978-3-7705-4844-6. (€ 98,–.). Reviewed by Wolfgang Kessler.
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Henry Macran – translator and author of a commentary on The Harmonics of Aristoxenus – observes that the Greek philosopher had already been described as (‘μουσικός’ = musical) by ancient writers. My essay takes this as its point of departure to pursue two goals: firstly, to discover how Aristoxenus’ work justifies his title ‘mousikos;’ and secondly, to outline what his writings reveal about the knowledge of music in general. Aristoxenus’ approach is twofold: music theory and philosophy. And, while it is well-known that he was the first to establish ‘music theory’ as a discipline and to make it the main component in the general science of music, the method he uses deserves special attention. His system might be described as laying the philosophical foundations of music theory.
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Review of: Joanna Smereka: Henrik Steffens. Ein Breslauer Wissenschaftler, Denker und Schriftsteller aus dem hohen Norden. Leipziger Univ.-Verl. Leipzig 2014. 272 S. ISBN 978-3- 86583-886-5. (€ 29,90.). Reviewed by Felicitas Söhner.
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In this paper, I will present some important ideas about the relation between religious experience and metaphysics in Alfred North Whitehead’s philosophy. This endeavor is significant for the topic from two points of view: firstly, Whitehead’s thinking is among the most comprehensive and widely extended from the 20th Century, the applications of his ‘speculative scheme’ covering issues from ecology, physics and the foundations of mathematics, to art and religion; secondly, the concept of ‘God’, with a meaning ascribed to it by Whitehead in relation both with the history of philosophy and with his own ideas, plays a key-role in Process and Reality, his most important treatise. For Whitehead, religion is linked, broadly speaking, to the most intimate inner evolution of a human person. Although this assertion may seem trivial, in the context of his thinking, which defines terms such as ‘process’, ‘value’ or ‘satisfaction’ as essentially bounded with the evolution of any actual being, to associate a kind of experience, the religious one, to the fact itself of inner becoming conveys to this experience a fundamentally profound and inalienable metaphysical character. It is this character and ‘definiteness’ which I will describe and analyze.
More...Some instances of crede ut intellegas in Damascene and Maximian reflections
Addressing the imputed opposition between Christian theology and metaphysics from the premise of the inadmissibility of severing ties with the Holy Fathers of the Church, this paper argues for the necessity of revisiting dogmatical works like the Fountain of Knowledge and Ambigua with the scope of ascertaining their perspective on the issue. Brief textual analyses will show why the sublation of the Messalian and Evagrian extremes by the Orthodox Byzantine synodal theology (with the purpose of a Union in God) was and remains necessary. On a third layer, the paper gives some indications of the relation in which certain methodological and systematical traits of the cataphatic and apophatic Orthodox dogmatic theology stand to scientific thought.
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In regard to the to the art area, the optimalstrategy that we can deduce from the Aristotelian thought is not to oppose in an abstract manner the Idea and life, but to let what is alive to talk to us, meaning to participate to essence in an own way, to come to us and inhabit our discourse not from the outside, but recognizing us, identifying itself in our words. The ruthlessness of Destiny, the immobility of the being as a being would remain a common entertainment if a guy would not assume Oreste's costume, gestures and mask. Accident is just as essential to essence as it is essential to think of an essence of the accident. The effect of this simultaneity can be given (finally legitimate) the name of life.
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The aim of this paper is to examine and define the so-called „history of the desiring man” that Foucault explains in a genealogical framework inspired by the Greek Antiquity, recognizing Aristotle`s ethics as one of its constitutive paradigms. The main challenge of this theoretical inquiry is to show that Aristotle`s perspective on the human desires is as actual as it used to be 2400 years ago, in a puzzle that evaluates the relationship of the individual with himself and his access to the truth, in the terms of Aphrodisia, Chresis, Enkrateia, Sophrosyne.
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This article talks about two concepts drawn from Aristotle, the verisimilar and the necessity and the way we use them to create something that can flow only in one sense, as a one-way street, what we call truth on stage. If that happens, the people in the room will witness an unrepeatable event, and you as an actor will achieve performance.
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The paper begins by clarifying St. Thomas’s teaching on the problem of the one and the many by answering three questions: 1) What is a genus? 2) How are genera organized according to contrary opposition, and what role does virtual quantity play in such organization? 3) How do a knower and the thing known constitute opposite poles of a genus? With these answers firmly in hand, we then turn to an analysis of art, with particular reference to Picasso, with a view to clarifying three complementary points: 1) How the artist and his work constitute a genus, and how the work of art and the viewer constitute a genus; 2) How the work of art affirms the generic relation of sense object and sensate being; 3) How the artist subordinates the practical to the speculative in his work and what this implies for the role of the artist in an increasingly practical age.
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This contribution examines the definitions of wisdom that appear in the first two lessons of Robert Holcot’s In Sapientiam. The Dominican master writes in his famous commentary that he does not retain the theological and peripatetic definitions of wisdom, but prefers the definition given by moral philosophers. Holcot’s notion of philosophia moralis is compared here with its occurrences in the divisions of philosophy and curricula of the first half of the thirteenth century. The interest in non-peripatetic ancient sources manifested by this “classicizing friar” (Beryl Smalley) seems to suggest his work was a continuation of that of his near medieval predecessors, at the very time of the first humanism.
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