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The modern world without Chinese thought would not exist. The future of civilizations will be intimately linked to the future of Chinese civilization. Chinese thought can teach all people the meaning of the words of honor and respect. I think that the sustainable development of the world must be on the model of society and the sustainable development of the world must be on the model of society. I think that the sustainable development of the world must be on the model of Xiaokang society and this will be the China‘s most important success.
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Njegov je životni zaokret bio zaista pavlovski snažan. Ovaj dobri 25-ogodišnjak Giovanni di Pietro Bernardone, od oca nazvan neobičnim nadimkom Francesco - „mali Francuz“, nije više želio ispunjavati ulogu bogatog mladića. Budući da je imao istančan osjećaj za izvedbu, u dramatičnoj je sceni, ispred katedrale San Rufino u svom rodnom gradu Asizu, vratio svome ocu, i na koncu društvu, sve ono što se činilo da priječi iskren život po Kristovu modelu: svoje privilegije, nasljedstvo, novac, čak i svoju odjeću. Spektakl i skandal, da, ali kao što je Pavlovo obraćenje „pred Damaskom“ navijestilo početak nove epohe, tako i odricanje predstavlja sve ono što će uslijediti u Franjinu životu, što bi trebalo sačinjavati „franjevački kontrapunkt“ (Jacque Le Goff): alternativni način života i nasljedovanja Isusa, što je nadahnuto misijskim govorom: „Na put ne nosite sa sobom torbu, drugu košulju, cipele, štap ...“ usp. Mt 10.
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Dana 6. ožujka 2022, samo koji dan nakon početka ruske invazije na Ukrajinu, patrijarh Ruske pravoslavne crkve Kiril, izjavio je da ovaj rat ima „ne fizičko, nego metafizičko značenje.“ To je jedina tvrdnja u patrijarhovom javnom očitovanju o ratu s kojom se slažem. Putinove metafizičke predodžbe povijesti i svijeta zbilja mi izgledaju kao važniji movens od njegovog imperijalizma. Ove ideje imaju takvu moć nad Putinom, da se mogu usporediti s religioznim mitom. Putin je demiurg koji je sredstvima propagande sam kreirao taj mit, ali je istodobno i rob vlastite propagande.
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Ove godine (2022) navršilo se 20 godina od smrti Görana Kroppa. Postao je poznat široj svjetskoj populaciji 1996. godine kada je na biciklu iz rodne Švedske došao do Nepala i osvojio vrh svijeta, Mount Everest (8848 m). Što je to motiviralo Görana Kroppa da biciklom krene na tako dalek i odvažan put? Avanturizam, želja za dokazivanjem, podvig, znatiželja ili nešto drugo. Svakako o svim njegovim avanturama čitat ćemo u ovom radu.
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The philosophy of Lenka L. Lukačovičová’s work is based on her interest in our cultural and personal identity, collective memory, but also problems with functioning, and problems associated with current situations in the area where she works. The presented portfolio shows her broad interest scale, which is, however, anchored in the three most dominant themes. When processing them, she works with relationships with several media: happening, performance, installation and photography. She continuously focuses on issues of culture, time and space, on woman, mother and her internal experience; transformation and disappearance associated with the change of the urban environment, its gentrification in connection with the presentation “place-specific” in public space. Her key projects began to emerge in 2012, 2013 (Quo Vadis Galleria; Permanent Exposition) with focus mainly on how the cultural institution works. She continuously develops her interest in cultural and collective historical memory in a series of exhibitions called the Grey Book. From the collected photos of portraits of persecuted women (1950s to 1970s of the 20th century), she created hand-enlarged glass plates from digital archives; then she laid them out on the floor Status quo ante in the space of the Trnava Synagogue and left them to disappear. Post-media and political works were created, but they slowly became also a kind of silent meditation on the everyday life of post-communist Slovakia. Everyday life has also become a theme in her other projects: (Non)decisive Moments, 2020, and Lonely Planet Trnávka (from 2020). Here, her photographs remarkably deal with urban spaces, the surroundings, space where we live. She gradually exhibits them directly at the place of creation, in the Vitrine Gallery ZORA, a bulletin board that functioned as an information board at the dilapidated, non-functioning Zora Cinema in the local Trnávka district of Bratislava. She creates an imagined bedeker, an obscure Instagram account playing with the world brand – the online guide lonely_planet_trnavka. (Note: In addition, from 2021, she realized a series of other billboard and vitrine gallery exhibitions in the cities in Slovakia which seem to be at a freezing point). The last presented level of her work derives relatively intensively from the work of other Slovak authors from the 1970s to 1990s of the 20th century. She creates a free interpretation of the works with roots in performance, which are usually recorded by photography. She calls cycles with the prefix RE:, as they are fundamentally based on repetition of re-creation, citation, or appropriation. Lukačovičová processes topics whose starting points, as well as solutions, are extremely fluid and changeable. She layers them and asks herself questions.
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Ludwig Thiersch (1825-1909), member of the Nazarenes school, not only brought a vision indebted to Western art, but also attempted to distance himself from the specific national art. After 1856,the Athenian academic space will be usually filled only with Greeks teachers, who, however, being educated in different centers of Europe, will bring along some art influences from their area of training. Current or past artistic styles come to complete the wide universe of the Greek art of the late nineteenth century, as in Italy, Vienna, Munich and Paris.If artistic trends coming from the German and Bavarian space influenced Neo-Hellenic art, characterized by an opening towards a style dominated by academicism, even by a late romanticism, the influence of the French art will give a new spirit to the Greek creations from the beginning of XX century. Late Impressionism, but especially Symbolism, will unite in a homophonic utterance the Greek creators, divided into different categories and styles between the years 1930-1940. Aesthetically two diametrically opposed personalities, but great scholars of these times of many changes, are undoubtedly Konstantinos Parthenis and Fotis Kontoglou. Religious painting and icons of Konstantinos Parthenis (1878-1967) are in line with traditional typological point of view, but aesthetically, they have greater freedom of expression and interpretation. The forms, more simplified, are often reduced, drawing becomes geometrical and essential, and color, placed in ex- quisite combinations, not always follows Byzantine art heritage, but is moving towards European trends of the time: Post-Impressionism - Symbolism.In contrast to the free and creative character of Parthenis, Fotis (Photis) Kontoglou (1895-1965) will focus in his art all the Byzantine heritage and tradition. Since his beginings, Kontoglou, regarded as a traditional artist, is moving towards a theoretical and practical work, turning to early Byzantine painting. The major importance of the presence of Fotis Kontoglou in in the area of the Greek art and culture meant not only his own creation, but the revitalization of religious art in the early twentieth century. Testimonies over time are also his disciples, who exhibited and shared his achievements: Yiannis Tsarouchis, Nikos Engonopoulos, Spyros Vassiliou etc.
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The present text is a chronicle of the volume De l’homme extérieur à l’homme intérieur : l’anthropologie spirituelle de saint Jean Cassien, signed by deacon Florin Petre. Deacon Florin Petre belongs to a new generation of theologians who dare to be modern precisely through the tireless search for an ideal relationship between tradition, experience and knowledge. At Florin Petre, the deep and successful study of theology is ennobled by the lucid and pious gesture of searching for the Truth with the support of unceasing prayer. His work, dedicated to Saint John Cassian, is the logical continuation of an exceptional doctoral thesis, presented with great success at the Faculty of Theology in Strasbourg. Father Florin Petre describes Saint John Cassian as a founder of monaster- ies but also as a spiritual builder, a theoretician of prayer, but also an ascetic in the purest sense of the term.
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The article aims to emphasize how Marin Preda’s novels are related to the political novel. In this regard, we try to uncover, through some discourses, how criticism and literary history viewed this aspect regarding the possibility of approaching truth and ideas within the communist regime. Then, we try to check how in some respects Preda’s novels can be of interest beyond the period of their publication. Analysing other examples, we try to show how there still is a preoccupation with the writer’s biography that mediates the relationship with his works. The conclusions are that the reception of Preda’s literature depends on the background discourse and that both the latter and the literature itself contain a potential that contributes to the understanding of the world after 1989.
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The present work analyzes the relationship between subversion and dissent within the novel The Most Beloved of the Earthlings, insisting on the strategies through which the attacks on the regime were camouflaged. Despite the fact that the text represents a harsh document of the totalitarian period, in which art was under the control of the Security and presents a faulty political mechanism, in which values are overturned, it was able to pass censorship through the appeal to obliqueness, allusion and mask. The narrative techniques, the fictional mandate, the indirect criticism, the background noise and various tricks that Marin Preda uses to disguise the attacks individualize the novel and turn it into the most important piece of writing of the “obsessive decade”.
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The subject of our study, the priest Alexandru Vidrighinescu, is a clerical figure less known to specialists in church history. For this reason, the present material can be considered as an attempt to recover the memory of a Romanian orthodox priest from Transylvania. After his years of theological studies at the Şaguna Seminary in Sibiu, Alexandru Vidrighinescu was functioning as priest in Ocna Sibiului. Through his intellectual and human qualities, he stood out in the local Romanian community as one of the most representative figures. A true patriot, he soon got involved in the national movement of the Romanians from Transylvania and contributed to the Great Union from December 1st, 1918. He took part, in his official capacity, at the great event from Alba Iulia. During the interwar period, priest Vidrighinescu got involved in the political life of Greater Romania, being a member of the Romanian National Party. Later, he became a military priest in Bârlad and Râmnicu Vâlcea, reaching the rank of major. Unfortunately, many aspects of his life and activity remain unknown at the current stage of research.
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Essay by "It is Bird, However!" by Mădălin Bunoiu. Essay "Retro-spects" by Vladimir Tismăneanu
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N. Steinhardt was a constant supporter of courage as an essential character trait and in many of his works – journalism, literary criticism, memoirs, interviews and religious sermons – he demonstrated a clear propensity for this human quality. Courage was a leitmotif of Steinhardt’s creations, an aspect that becomes evident through his works in which he advocated for the courage to act, to express one’s opinion, to take a stand against injustice, to persevere, to be loyal and not to betray, to pave new paths. However, the essence of this preoccupation culminates with the detailed analysis of courage from a religious perspective in the sermons given by N. Steinhardt during his monastic life at the “St. Ana” Monastery in Rohia. In the book “ Dăruind vei dobândi. Cuvinte de credinţă,” the theme of courage is extracted with surgical precision from various pericopes or biblical fragments, an aspect that sheds light on N. Steinhardt’s hermeneutic qualities. The fact that he “practiced” courage, not just verbalized it, is revealed by the years spent in prison in the name of friendship and devotion to C. Noica and the other members of the Noica-Pillat group, by his subversive writings during the communist years, and by the testimonies of his friends and those who knew him.The work “ Dăruind vei dobândi “ is one of the few theological works that gives special attention to this Christian virtue – courage – and represents an existential guidebook based on Christian precepts and models. The call to courage is outlined both scripturally and theoretically, through all selected verses and examples from the Gospels, as well as practically, by assuming, during the sermons given at the Rohia Monastery, the courage of expressing his opinion, urging vigilance, critical thinking and resistance against all types of abuse. He always emphasized the idea of freedom, dignity, and the common good, despite the fact that assuming these values was a real rebellious attitude during the communist years.
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