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The article is a foreword for the fourth chapter of Drucilla Cornell's book "The Philosophy of the Limit", which was republished in the Journal.
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The article is a foreword for the fourth chapter of Drucilla Cornell's book "The Philosophy of the Limit", which was republished in the Journal.
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Several years ago, around 1998, I wrote a poem entitled ‘Temptation’, with a motto taken over from the Old Testament, the First Book of Moses (Genesis) 22:7: “My Father: and he said, Here am I my son. And he said, Behold the fi re and the wood: but where is the lamb for a burnt offering?”1 In that poem I poetically interpreted God’s attempt to test Abraham’s loyalty by putting him in a position to choose between Him – God and his own child, his son Isaac. God Almighty puts Abraham in a grotesque position to give up his son, to forsake his dearest and, which is more, to destroy his dearest, to put him to death, slay him, kill him and burn him with the excuse of (ritual?) sacrifice. The reason for such a sacrifice is God Almighty’s capricious wish to test Abraham’s loyalty to Him, the supreme father, to the law of God. To prove that his loyalty to God is greater and more important than his love for his own child, god-fearing Abraham sets forth on an agonising journey to the land of Moriah, to the woods of temptation, the nightmare of humankind, where he builds the pyre upon which to lay his own son instead of a lamb or like a lamb, and put him to death.[...]
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Na kraju ove analize sportskog sistema valja nam još pokušati da objasnimo duboku popularnu ukorenjenost sporta, koja čini da je on stvarno doživljen kao svakodnevna kultura.
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Povod čitanju je od strane estetske svesti dugo zaboravljeni ili naprosto nerazmatrani završni deo Aristotelove definicije tragedije.
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Heideggerov uticaj u budućnosti dat je rangom njegovog mišljenja; jer, njegov osnovni rad Bitak i vreme, iz 1927. godine, pripada blizini isto kao i Kantova Kritika moći suđenja.
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Svako olako postavljanje ovog ili onog koncepta istorije, ma koliko on lepo i po čoveka pohvalno zvučao, lako može da se pokaže kao »prevazilaženje« stvarnog ljudskog života u pravcu imaginarnog.
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This study consists of an analysis of the work by the contemporary author Daniela Fischerová whose literary production can be understood as the representation of many possible intentions. It can even be viewed as a hidden dialogue with the theses of neo-structuralism, analytical philosophy and hermeneutics. The distinct character of the narrative approach in the Duhová jiskra (Rainbow Spark) and Jiskra ve sněhu (Spark in the Snow) prose stories is in the fact that Fischerová seems to suppress, in some sense, her own authorship by writing texts which seem to recall on the surface fairy tales, legends and anecdotes, but actually are more reminiscent of archaistic gnomes, moving on the arch of various cultures and thinking, returning to the narrative approach from the pre-modern period to the beginnings when culture and civilization legitimised itself by means of stories – récis. The impressive shorter prose works are of interest for both adults and children, opening up new horizons of interpretative possibilities.
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By careful study of commentary works with the aim of reaching gnostic hermeneutics we reach two universal methods. The first is the reveling-inspiring (kašfī-elhāmī) method, the characteristic of those who poses spiritual experience (sāhebān-e zouq) and those who experience revelations and visions (ahl-e kašf wa šohūd), and who claim to have spiritually witnessed esoteric realities of the Book of Creation (ketāb-e takwīn) and the Book of Divine Law (ketāb-e tašrī‘), sensing within themselves with their whole being the complete correspondence between these two Books, thereby understanding from the Qur’anic verses realities which others are not able to understand. The second method is the application of general technical methods (fannī-ye ‘omūmī), in the sense that even those who are not used to spiritual revelations and visions can, by virtue of these methods, reach some of the esoteric meanings of the Qur’an and, in case they do not understand their reality, they can even get to know it through the rules and principles accepted by common people. The scholar Qūnawī used both the methods in order to understand Islamic religious texts. Nevertheless, this paper puts the main emphasis on his general technical method, because this method can be used by all Islamic thinkers. According to the authors of this paper, the principles of this Qūnawī’s interpretation method can be divided into three general groups: the ontological, the epistemological, and the linguistic. In addition to explaining these principles, the paper aims to explain the fact that Qūnawī’s interpretation method is based on stable principles which, besides gnostic orientations and attention to spiritual aspects and discovering secrets and hints, do not neglect the linguistic view as well.
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Using the methodology of holistic approach to culture, the article considers the concept of urban architectural heritage and discusses its hermeneutical content as imperative for the development of sustainable future. Therefore the heritage object and its value system is withdrawn from its isolated cultural context and included as determining structure into wide center of socio-cultural and economic development. Finally, the mound and low intensity settlement are named as the structure of eopolis that presuppose the sustainable urban and socioeconomic future of Lithuania based on cultural experience.
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In this study we investigate the extract 154b8–156c9 from the introductory chapters of the Platonic dialogue Charmides so that to examine how the terms of Aesthetics are formed, which focuses on the selfhood and makes it the core of dialectics. Specifically, we structure our study in two chapters each of which includes two subchapters. In the first subchapter we focus on the soul, which in the Platonic text appears to be the criterion for moral perfectness. In the second subchapter, which systematizes the former, we show how Socrates contrives to do the transition from subjective judgments to logical propositions and the terms of the authentic Aesthetics. In the third subchapter, paying attention to the first communication between Socrates and Charmides, we discuss how the Athenian philosopher sets beauty within its true boundaries and activates the logical part of the soul. In the fourth subchapter, we follow the introduction in dialectics, which will lead anyone involved in truth. The main contribution of our study is that we show how in this dialogue Plato succeeds to go from vulgar hedonism to the beauty of the soul, which is a requirement for the inner transformation of selfhood.
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The article deals with the topic of "initiations" in Plato's Phaedrus. The idea of initiation was characteristic of Greek mysteries, especially the Eleusinian and Orphic mysteries, which played a large role in the formation of Greek philosophy. The essence of initiations was the experience of divinity. The motive of initiations in Plato's Phaedrus seems to have a similar meaning. This is also suggested by the allegory of human souls as chariots and the mystical “epopteia” motif woven into it, suggesting Eleusinian analogies.
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The article deals with the early Christian literature of the 2nd–3rd centuries in the context of the Second Sophistic. Famous sophists and Christian intellectuals were contemporaries, and they were educated by the same teachers. The focus of the article is on such themes as the claims of apologists for the status of ambassadors to the Roman emperors, the desire to demonstrate their education and include Christianity in the mainstream of development of ancient culture, an appeal to Greek history. When Christians tried to prove the truth of their views on the world and the deity and to demon-strate the superiority of their culture and their own tradition, they often used ideas and methods borrowed from the arsenal of Second sophistic.
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Gorgias (483–375 BCE), a famous Ancient Greek philosopher and orator. According to ancient testimonies he was praised for his eloquence and published numerous literary works, but very little is preserved. The present publication contains a collection of scant doxographic evidence about Gorgias’ life and writings and a translation of two his extant speeches The Encomium on Helen and the Apologia of Palamedes. The evidences are based on A. Laks and G. Most’ Early Greek Philosophy (2016).
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The works completes a Russian commented translation of Empedocles’ fragments available from the Strasburg papyrus. I present here the sequence of the Ensembles b, d and f with the addition of some other fragments known before papyrus’ first publication in 1999. This badly fragmented piece of evidence is translated into Russian for the first time.
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The article touches upon the analysis of the historical and literary circumstances of the appearance of one of the numerous author’s comments by Gogol on the comedian “The Government Inspector”, such as the article “An Prenotification for those who would like to stage “The Government Inspector” as it should be”. A whole number of facts indicate that the origin of the “Prenotification…” is related to the history of the creation by Gogol of the second edition of “The Government Inspector” in late December 1840 — February 1841. Together with the new edition, Gogol, unsatisfied with the staging of his comedy in St. Petersburg and Moscow theatres, first of all with the impersonation of Khlestakov, conceived a new presentation of “The Government Inspector”, believing that the revised edition would contribute to the theatrical updating of the play — performed “as it should be”. The text of the “Prenotice…” precedes the creation of those fragments of “The Government Inspector” that Gogol sent for the new edition of the play in spring 1841 from Rome to Moscow for M. P. Pogodin and S. T. Aksakov and is a kind of a test experiment, a “rough draft” for “An excerpt from a letter written by the author shortly after the first presentation of “The Government Inspector” to one writer”, sent at that time to Aksakov, and simultaneously it is a preliminary description for subsequent explanations of the “silent scene” of “The Government Inspector” in the text of the very comedy. In addition, there is a connection between the “Prenotification…” with drawings made by the artist A. A. Ivanov for the same final scene of “The Government Inspector”, which were created during the author’s reading of the comedy in Rome in February 1841. Thus, it is established that the “Prenotification for those who would like to play “The Government Inspector” properly was written not in the autumn 1846, as it is common to think, but five and a half years earlier, in early 1841. It is an opening article in the manuscript for the second edition of “The Government Inspector” in 1841, instead of which Gogol published here an accompanying article “An excerpt from a letter written by the author shortly after the first presentation of “The Government Inspector” to one writer”. The study allows us to conclude that Gogol’s interpretations are deeply organic to the original religious concept of comedy. The plot stem of the “The Government Inspector” is the “thunderstorm” of a distant government law, and of the even more inevitable Last Judgment. The “Prenotification…” addressed to the actors, and containing an appeal to take seriously and conscientiously the performance of the roles they were cast in, to pay special attention to the final scene, is an important component of Gogol’s strategy to bring back to his play the meanings lost due to inept staging.
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In the ḥadīth sources it is being conveyed that the companions (ṣaḥāba) refrained from asking questions to the Prophet. This situation is generally associated with the verse of sūrat al-Māʾida 5:101. An-Navvās b. Samʿān (d. 50/670), Abū Umāma al-Bāhilī (d. 86/705) and Anas b. Mālik (d. 93/711-12) are among the companions who consider this situation as the ban on the asking questions. The concern that asking questions may cause additional obligations that were not presumed to be obligatory also attracts attention in these records. Keeping all numerous questions addressed to the Prophet in mind we may ask if there is a Prophetic prohibition on asking questions. We will seek an answer to this question, which constitutes the main axis of this article, especially in the framework of the narrations mentioned among the reasons of the al-Māʾida 101. We will evaluate the information concerned in their historical context and internal coherence inductively. Our investigation differs in this respect from the investigations, which dealt with the disapproval of excessive and unnecessary questions. As a result of our research, we think that it is possible to talk about a ban on asking questions about religious issues in the last three years of the Medina period. We will first discuss the dating and nature of this ban, from which only Bedouin and visitors who come to Madina were excluded. Then, we especially will evaluate the theological consequences of answer of the Prophet, which mentioned in the same context, of whether the pilgrimage is religious duty for every year. In the last part of the article, the prohibition of asking questions will be discussed in the light of Hans-Georg Gadamer’s principle “Der hermeneutische Vor-rang der Frage”, which deals with the effect of the questions on the direction and nature of the answer.
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Although it seems to be apparent today that language is not a “transparent medium”, interpretations focussing on the narratives of texts still seem to outweigh the efforts oriented upon how the text actually addresses the reader. The plain investigations of narratives do not concern themselves with what the text says in the way it speaks, but concentrate on assumed threads of sense and on hidden symbolism. The hermeneutic task is to engage in a dialogue with the text by way of concentrating on the surface of its fabric as texture, i.e. to ask what way the text addresses the reader inasmuch as it speaks and how one hears it. In the attempt to unfurl the text as fabric, one has to lay bare the phenomenal sense of the sign, of speech as language, of hearing, but also of the text as space. In this way, one may actually follow the intertwining threads of perception, sense and affectedness throughout the process of reading, and may thus gain genuine insight into what the text as fabric reveals. Excerpts from James Joyce’s Ulysses demonstrate how the eminent unfolding of the fabric requires attention to its diverse facets.
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Marcell Jankovics’s animated film titled The Tragedy of Man is in fact the adaptation of Madách’s main work, however, besides this, with the further thinking of the literary text, and placing it into set of mediums resulting a saturation of meanings he has already created a sovereign, autonomous piece of art. The “dramaturgy of dreams” within the intermedial animated movie including the magnitude of Madách’s literary work not only illustrates and adapts the hypotext, but it even offers a related re-interpretation to it. As a result, by means of the intertwining of communication channels, it creates a complex, ever-changing formation of statements within the intermediality of text-image-music. This process is accompanied by a saturation of meanings, resulting the emergence of countless symbols and grotesque images to match the hypotext, thus extending its interpretative modalities, fulfilling its “ability to be filled up”.
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