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The God of Jankélévitch is creative energy, eternal acting goodness and love, but it is not a person and does not personally know its creations. It does not rule, does not enter a covenant, does not bring redemption at the cost of its own heartbreak, does not judge sins and does not forgive them, does not speak, does not give commandments, does not conquer death, does not resurrect the dead, and does not offer eternal life.
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Based on archival materials, published sources, press and periodicals, as well as relevant literature, the paper discusses constitutional status of religious communities in Bosnia and Herzegovina in the period 1945-1992, as a basis for the periodization of the history of the Islamic Community in Bosnia and Herzegovina.
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Presenting the impact of manga and anime products in the current economical environment, this article reviews the state of knowledge in the field and aims to highlight the appropriate market segment.The importance of the anime culture for the economy and the ability of the comic image to overcome the cultural barriers are the two goals that we want to highlight here. Consequently, the need for the optimal strategies, to promote the manga and anime products on the Romanian market.An example of this is the Nijikon Convention, one of the biggest media event of "pop culture" in Romania.
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The article analyzes the strategy of the survival of Orthodox Christians and members of the religious organization “Jehovah’s Witnesses” under the conditions of persecution by the Stalinist and Nazi regime.
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Tko je Michel Houellebecq? Čovjek koji zavidi mladim proleterima koji su mu iz okrutnosti kamionom ubili korgija no koji sam ne može ubiti pticu za ručak. Odgovor nije pogrešan. Ponudit ću ipak nešto opsežniji. Houellebecq je čovjek koji od depresije, alkoholičarskih povraćanja i ironiziranja vlastitih seksualnih neuspjeha, završava u istini svojih propalih ljubavi da bi našao Ljubav. Baš tako patetično pisanu, velikim početnim slovom. Houellebecq je deklarirani nevjernik koji u konačnici, tek s malim zrnom soli, nudi neuvijene kristološke alegorije. Pretočen u njegovo pisanje, svijet mu nudi božanske znakove koje, sasvim u skladu sa žanrom negativne teologije, ne može takvima priznati. Barem ne ispočetka. Na kraju mu se pak čini da o tim znakovima treba biti izričit. [...]
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The criticism against the absolute validity of the assertion quantum intendis, tantum facis is an integral component of Aquinas’ doctrine of moral intention. This paper aims to investigate this criticism within the domain of sinful actions according to Aquinas’ division of sins. The quantum-tantum assertion is only valid regarding the mortal sins directly against God, which do not involve any effect of sensual suffering according to their species, whereas these kinds of sins cannot bear any degree of gravity: the loss of the connection with God is radical. Meanwhile, the mortal sins with sensual suffering as effect and the venial sins as the corresponding imperfect form do not follow the assertion and possess varied degrees of gravity: their sinful gravity depends not only on the intentional action, but on the corresponding realization. The fact that, among sins, the validity of the quantum-tantum assertion varies because of the sins’ relation to sensual effect indicates that sinful action, with or without a sensual effect, is involved in the species of sinful acts.
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The current text tries to explore possible connections between will and intellectual process in the context of the work of Peter John Olivi. Olivi presents the will in an innovative light, which provides the basis for later authors such as John Duns Scotus or William of Ockham. Olivi’s claim is that the will is a totally active power, which is the first mover of the soul and its other powers. The self-evidential freedom that the will possesses makes it responsible furthermore for its own self-reflexivity. Olivi goes even further to claim that the reflexivity of the rest of the soul’s powers depends on the self-reflexivity of the will. Based on this, the paper traces different passages, in which Olivi speaks about the free control, which we can observe having in our thoughts – freedom in terms of judgment, discerning, choosing an object for our knowledge, etc. Important for this discussion is Olivi’s understanding of intentionality and more particularly his concept of “aspectus”. The intellectual-volitional acts stand in the context of a broader intentional directedness of the human being towards the outside world. We would like to trace in what way this intentional directedness might be freely controlled from the will, so that different epistemological processes could be enabled to take place.
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This paper aims to be a discussion-opener. It is making a statement that should be examined further about the very plausible connection between the contemporary crisis in aesthetics as a philosophical discipline and the breaking of the philosophical relation between the idea of contingency as a condition for the human autonomous act and the art. This idea is based on the interrelation between the free will and the dignity of the person, as understood within the metaphysics of ens morale, and the value of any creative act.As an introductory demonstration of this interrelation, we propose the short but important elaboration on what is an act of art by Francisco Suárez in his De bonitate et malitia humanorum actuum (sect. 1, n. 17.). There we see that the value of the act of art acquires a double significance – on the one hand, the designation of an object as a work of art depends entirely on the conscious autonomous intention of the artist to create it, and on the other hand – the evaluation of each object of art depends on the knowledge and the will invested uniquely by the author in this particular object as a result of a unique creative act. In order to clarify the context of Suárez’ view, we also explicate the essence of the synchronic contingency, developed earlier by John Duns Scotus.
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This paper attempts to follow the impact of the Pseudo-Dionysian corpus in “The Divine Comedy” by Dante Alighieri. The aim of the text is to examine the theological aspects of the Comedy in order to put a spotlight on the equal understanding of the two authors about the mystical experience as an assimilation to the Divine likeness. For that reason, the attention is drawn not only to the directly perceived Dionysian angelology, but also to the conception of hierarchy in general, the presence of light and the approach of describing the indescribable.
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Enumerating the parts of the soul could hardly be an object of leisure-time activity and it is only in themedieval presentative culture that we could find it as naturally integrated topos of a dramatic text. Thisseemingly paradoxical situation loses almost all of its mysterious aura in dramatic genres like theconventional for fifteenth-century England “drama of moral instruction”, which is by definitionnonrealistic in form and religiously utilized by content. The focus of this article is the famous drama ofWisdom Who is Christ from the Macro MS and specifically its first part which concerns the introductoryexposition of the “structure” of the soul, the latter being a central character of the play. While the themeof the parts of the soul are not new to premodern philosophy and theology, it is the way this topic isinternalized in the new devotional trends of the time that makes the analysis of the text and its dramaticpotential so fruitful. This analysis is all the more crucial for the understanding of the play as most of theaction is delegated only to parts of the soul as “representatives” of the protagonist and carriers of themechanics of the stage salvation. Important works of contemporary laical devotional and contemplativeliterature are considered in terms of their influence on the dramatic piece considered.
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Kako »govoriti religiju« ? O religiji? Napose o određenoj religiji, danas? Kako se usuditi o njoj govoriti napose bez straha i drhtanja na ovaj dan? I tako malo i tako brzo ? Tko bi to mogao biti bestidan pa pretendirati na to da je tu posrijedi tema koja je istodobno i prepoznatljiva i nova? Tko bi mogao biti toliko tašt da na temelju nje sroči kakav aforizam ? Da bi se imalo hrabrosti, arogancije ili prijeko potrebne vedrine, možda je učas potrebno pretpostaviti časovitu apstrakciju, apstrakciju svega, ili gotovo svega, stanovitu apstrakciju. Možda valja krenuti od najkonkretnijeg i najpristupačnijeg, no isto tako i od onoga najnapuštenijeg apstrakcije. [...]
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The article is an introduction to the problems of Medieval Slavic translation of Proverbs of Solomon and contains an edition of the text according to one of its witnesses, held in the State Historical Museum in Moscow, collection of Petr I. Ščukin no. 507.
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The present study deals with the genre and the narrative features of the Martyrdom of St. Barbara (Martyrium S. Barbarae) according to its translation in medieval Slavonic manuscripts. The research explores the narrative and the structural specifics of the text.
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This paper is dedicated to a text entitled A Tale of the Holy and Honourable Icons and How and Why the Holy and Catholic Church Decided to Celebrate the Feast of Orthodoxy on the First Sunday of Lent that is known in Medieval Bulgarian and Serbian manuscripts. The text was translated from Greek most probably in the fourteenth century in a Bulgarian milieu. The appearance of this translation and its dissemination in South Slavonic milieuх were viewed in the context of the establishment of the Feast of Orthodoxy and other texts designated for this feast in Byzantium.
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The author makes a diplomatic edition of the medieval Slavonic translation of the Homily on the feast of the Annunciation (ascribed to St. John of Damascus) as attested in Vladislav the Grammarian’s manuscript dated 1479 (kept in Rila Monastery, no. 4/8). She characterizes the orthography of this copy and discusses the following features of the translation: the compound words and possessive pronouns as well as the names (epithets) of the Theotokos.
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This paper discusses contacts between Rila Monastery and Zograf Monastery in the realm of musical manuscripts. It sheds light on unknown musical manuscripts produced in Rila Monastery that are now housed in the library of Zograf Monastery. Their authorship and contents are focused on. The study of thеsе manuscripts is part of research programme for cataloguing of the manuscript collections of the Athonite monastery.
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