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The current review analyzes the last editorial issuance of Professor Gabriel Hasmaţuchi. Dedicated with much accent on cultural phenomenology, the author proposes interpretations that develop a binary, alike, contradictory, concurrent, complementary or congruent character. The work has the smell of ancient doxographies being a truly protreptic one, as well as a treaty of cultural posology.
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The present conference discusses the symbolic meaning of bread in thereligious mentality of the Ancient Near East. We will find that bread, besides being afood necessary for its existence, also represented a cultural archetype that summed upand assumed in itself either different divinities of Oriental civilizations, or had a ritualsacrificialcharacter, in order to facilitate man rather immortality.
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This article aims at discovering and analyzing Indian philosophical motifs, poetically illustrated in Kalidasa’s drama, Shakuntala. The drama is the artistic expression of the longing for the absolute, as well as of the fascinating techniques of meditation and ecstasy practiced in the ancient civilization of India. The study attempts an essential interrogation about the relation between the earthly and the heavenly hermitage, about the relation between the earthly and the heavenly Ganges.
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This study aims to analyze the concept of freedom, illustrated both in Jean Paul Sartre’s philosophy and in his drama. The study wishes to clarify Sartre’s view about the pre-existence of freedom, as a metaphysical, a priori given, as well as the association of identity with the concepts of existence and freedom. The singularity and irepeatablity of the Being is linked by Sartre with placing the existence within the situational and with its ability to choose among the countless existing options. The study contributes to the understanding of Sartre’s drama starting from his philosophical concepts.
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The sophianic theme, inherent to the Russian religious and philosophical thought of the late 19th — first third of the 20th century, is for the first time envisaged in the article in its relation to the artistic and philosophical creativity of Valerian Nikolayevich Muravyov (1885–1930). In the philosophical mystery “Sofia and the Centaur” (1921–1925) Muravyov brings together two lines of the sofiological theme — theological and artistic ones. Sophia appears in the pages of the mystery as an ideal image of the world and man, and at the same time her image is associated with the theme of the meaning of love, with the ethics of the transformed Eros. It is shown how the key scene of the mystery, the prayer to Sofia of all nature and all mankind followed by the common goal of transformation of the world, evolves into other artistic plans of Muravyov, and is reflected in the sketches of the fairy tale “The Captive Kingdom” (1925) and in the unpublished novel “The Island Buyan” (1926–1928). In the light of the Sofia plot the drama of the philosopher “Adviser for Death” (1927–1928) is considered. The autobiographical origins of the sophiology of Muravyov are revealed.
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Przedmiotem analiz artykułu jest pojęcie myślenia dialogicznego. Jest ono różne od pojęcia dialogu – literackiej figury, która służy do przekazywania poglądów filozoficznych. Myślenie dialogiczne, jako merytorycznie nowy sposób uprawiania filozofii, pojawia się dopiero w początkach XX w. Zrodziło się ono jako sprzeciw wobec redukcyjnych metod nauk przyrodniczych i przeniesienia ich w obszar myśli humanistycznej i antropologicznej. W ten sposób powstał nowy nurt filozoficzny – filozofia dialogu. Rozwijał się w duchu uwag krytycznych kierowanych pod adresem dotychczasowej tradycji filozofii zachodniej. W artykule przedstawione zostały konstytutywne cechy myślenia dialogicznego. Najpierw przeprowadzono analizę fenomenologiczną jego kluczowych doświadczeń. Wyrażają się one w takich terminach, jak: „wydarzenie”, „spotkanie”, „drugi”, „czas”, „roszczenie”, „wzajemność”. Następnie wykazano, iż w myśleniu dialogicznym element epistemiczny i element etyczny warunkują się nawzajem. Końcowy wniosek analiz brzmi: aby uniknąć zagrożeń idących ze strony rozum monologicznego, za rzecz konieczną należy uznać wprowadzenie go w przestrzeń rozumu dialogicznego.
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This article deals with the history of reception of the German Baroque poet Johannes Scheffler (aka Angelus Silesius, 1624-1677), which served as a significant catalyst (to use the renowned poetological term of T. S. Eliot) on a number of writers and philosophers in the 19th and 20th century. First of all, the analysis is focused on Scheffler’s impact on Jorge Luis Borges who in reading of Scheffler’s mystical epigrams attempted to find the way out of the impasse of modernist subjectivity. Next, the article investigates the reception of the distinguished German poet by three renowned 20th century philosophers: Heidegger, Derrida, and Lacan. It becomes clear that all three have creatively appropriated the verses of Johannes Scheffler, and it has turned out that the mystical paradoxes of his poetry paved the way for the articulation of some typical postmodern concepts of these philosophers. In Heidegger’s case, Scheffler’s verses on the mystical rose helps define the ungroundedness of being. In the case of Derrida, the scope of Schefflers epigrams seems very close to that of the so-called experience of deconstruction, and in case of Lacan, Schefller’s poetry is read as the most efficient meditation on being, which in opposition to un-being (the Real) marks the successful end of the psychoanalytical process.
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Quoiqu’il en soit des jeux d’influence et de dépendance doctrinale, l’ordre franciscain dans son ensemble, et les Capucins en particulier, tendant à une harmonisation entre l’action (ascétique ou apostolique) et la contemplation, qui est sand doute une façon de mettre la volonté de l’homme au service de la plénitude de la volonté de Dieu. Mais il ne s’agit pas simplement et uniquement, dans cette réflexion de la volonté de Dieu, d’un plan moral ou strictement ascétique: c’est toute la vie spirituelle, jusqu’aux plus hauts sommets de l’union mystique, qui est en cause, pasticulièrement lorsqu’il s’agit de l’expérience et de l’enseignement de religieux tels que ce Benoît de Canfield ou Laurent de Paris.
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The study seeks to clarify solitude as a more original phenomenon than the sociality derived from it and advocates solitude as the most ontological trait of hypostazing the subject. The author draws on the analyses of the solitude of Emmanuel Levinas who understands solitude as the basic category in the architecture of being. In this case Levinas fundamentally contradicts Heidegger, for whom solitude is merely a deficient mode of being with others and is derived rather by a more originally co-existence than by its negation. These are analyses that the author considers as unsurpassed but also neglected or overlooked. Existence is rooted in itself. It is the self-relationship of the existing to the event of his existence, it is an irreversible unity between the existing and its existence. This is the most original union. It is solitude more original than loneliness.
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As a mode that evolved around our fears over technological development, science / fiction, understood in a broad sense of fictionalizing scientific narratives, has more recently turned towards biology as the science of the future. In parallel, life sciences have established their presence within the field of humanities, as both strive to tackle the burning political issues. Climate change, mass extinctions, biotechnological fallouts – these aspects of the Anthropocene feature in contemporary fiction, reflecting the global anxieties, but their trajectory could be traced back to modernist works (and further back). The sixth volume of Pulse, entitled “Alternate Realities of Life Sciences and Science Fiction,” brings together a number of texts exploring how possible realities alternate to the biopolitical ordering, are both constructed and deconstructed at the intersection of life sciences and science / fiction in different ways, in the modernist and contemporary periods. The texts are interventions across a range of perspectives: from continental philosophy, cultural studies, to eco-criticism, animal studies, and medical humanities.
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Predstavljeni radovi Šabana Hodžića objavljeni su u vremenskom periodu od 1964. do 1981. godine u “Takvimu“ Vrhovnog starješinstva Islamske zajednice u Jugoslaviji. Nastali su u ambijentalnosti socijal-komunističke Jugoslavije kada je vjerska literatura bila pod budnim nadzorom i strogom cenzurom Države. Uprkos takvim okolnostima, pored znanstvenog rada koji nastavlja nakon odlaska u mirovinu 1965. godine, Šaban Hodžić se kao odgovan intelektualac i kompetentan alim bavi vjerskim i društveno-aktuelnim temama, koje se mogu podijeliti u dvije grupe. U prvu grupu bi se mogli svrstati radovi u kojima autor tematski afirmira islam i njegove sveukupne vrijednosti, u koegzistencijalnom odnosu sa drugim religijama, kulturama i civilizacijama, napose onim na Zapadu. U drugim radovima on detektirati negativne pojave i devijantna ponašanja u okruženju i šire, iznoseći islamske stavove i svoje mišljenje naspram njih. U ovom radu predstavljeno je devet takvih opservacija.
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The paper discusses the establishment of "Civic Education" as a new subject at Bulgarian secondary school this year. The discussion focuses on the question of subject's public legitimation and its major goal. Claiming that Civic Education is a phenomenon of the Modern World I offer a brief historical sketch. It outlines those long term processes that feature the Modern World - secularization, industrialization, urbanization, democratization etc. After a short description of the current state of Civic Education I sketch three existing models of Civic Education - patriotism, participatory republicanism and autonomy. Eventually I make the conclusion that the conception of the new subject "Civic Education" combines elements of later two models. The major goal of "Civic Education" at Bulgarian secondary school consists of two components - understanding of the complexity of Modern Social World and building of Civic Capacity.
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A figure in which German romanticism unites the religious and philosophical cognition of the world is a poet. He who is the prophet, priest and the thinking being, converts his intuitive and sentimental cognition into a poetic creation, the only possible construction of the wholeness which, presenting the order of things within individual space, is the witness of the world order as it is. One of the most popular genres of Romanticism, the artistic ballad, being a reflective and self-reflective type of poetry, both demonstrates and artistically effectively presents the process of simultaneity of cognition and creation by using literary devices which create a distance between the topic and speech instance, that is, by means of simple narrative matrix and the tone of folk poetry, change of speech instances, by problematizing the status of the real or shifting of what is presented to fairytale spheres. This paper tends to show it by taking theoretical postulates of Romantic poetry by Friedrich Schlegel and perception of ballad by Hartmut Laufhite as starting points, and using the examples of representative ballads by Novalis, Tieck and Brentano with the topic of poet and his position in the world.
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The aim of our analysis is to explore the influence of Nietzsche’s aesthetic doctrine on Robert Graves (1895–1985), the famous English poet and novelist. The paradox we lay our emphasis on in the very beginning lies in the fact that Robert Graves used to speak about Nietzsche and his works in a rather deprecatory manner. However, it is too obvious that the views of both authors and their approach to certain key categories of modernism are strikingly similar. The aim of our comparative survey is to juxtapose Nietzsche’s and Graves’s views on history, poetry, the nature of poetic inspiration, and modernist myth- making and to prove that Graves as many other modernist writers, did not escape being influenced, directly or indirectly, by the ideas of the great German philosopher.
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The article is based on the Parsifal project, a European project funded by the Erasmus+ programme (Project Number: 2018-1-PL01-KA201-050865), which is being implemented by EuroEd Foundation Iasi, Romania. The project aims to bring cultural heritage to the attention of students in order to enrich their learning processes. The project looks at traditional tales and legends in each partner country (Poland, Italy, Lithuania, Bulgaria and Romania) with a view to identifying common European roots. The paper focuses on main themes and common features identified in Bulgarian, Italian, Lithuanian, Polish and Romanian legends: real and mythological characters and animals, heritage, environments and common objects, recurring situations and challenges, moral and ethical topics.
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In speech, there are phenomena that deviate from the literary norm and are widely used, ie.represent „mass“ errors that communicators over time stop evaluating as a deviation in theirlinguistic behavior. Typically, this type of errors is interpreted as a manifestation of a lowlinguistic culture and as a severe deficiency in literacy. In fact, it is very likely that this is a rulechange that has occurred, but has not yet been reflected in the codification documents. Thearticle analyzes mass mistakes in the media that are no longer recognized as defects in speech.
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