The Religious Experience of the Landscape Ruskin and Nature

2020 ◽  
Vol 61 (1) ◽  
pp. 181-199
Author(s):  
Sándor Radnóti
Keyword(s):  
Point Of View ◽  
The Other ◽  
Landscape Painting ◽  
Social Critic ◽  
History Of ◽  
The Aesthetic ◽  
Harsh Criticism ◽  
Scientific Truth ◽  
Modern Era ◽  
Artistic Tradition

AbstractThis paper reconstructs Ruskin’s work from the perspective of the landscape, building upon the assumption that Modern Painters played a cardinal role in the emancipation of the genre. This reconstruction is complicated by the internal contradictions within the work: it cannot be regarded as a systematic work of philosophy, but belongs rather to the genre of sage writing. In volume I, Ruskin approached the landscape not from an aesthetic point of view, but from the direction of scientific truth. The aesthetic consequence of this was his anti-mimetic attitude, which differentiated between the imitation of nature and the uncovering of the truths of nature, and in this respect, he considered Turner the greatest master who had ever lived. Truth takes precedence over all aesthetic considerations, and for this reason Ruskin was resolutely against artistic tradition. Seen from his perspective, the history of landscape painting appeared as a series of scientific illustrations, which, with the forward march of science, came ever closer to truth-to-nature. The other two essential conditions of art, the other side of truth, were its moral and religious messages. Beauty is the work of God, and God must be praised in His work, in Nature. Only later did Ruskin introduce a historical dimension to the experience of the landscape. The modern era is characterised by the rise of the pre-eminent interest in the landscape, accompanied by a parallel decreasing interest in gods, saints, ancestors and humans. This later became the main motif of Ruskin’s activities as a social critic and reformer. In relation to the loss of faith and the prospect of regaining it, Ruskin saw landscape painting as the representative art of the modern era. In the later volumes of Modern Painters, Ruskin carefully distinguished between the task of science, which is to investigate the essence and uncover the truths of material nature, and the task of art, which is to explore the possible viewpoints or aspects of material nature. In volume V of Modern Painters he firmly asserted – in diametric contradiction to his earlier views – that the greatness and truth of Turner did not rest on scientific truth, for in this respect the artist was completely ignorant. This paper interprets and evaluates Ruskin’s extraordinarily harsh criticism of Claude Lorrain, which contrasts with the fact that Turner spent almost his entire life idolising and attempting to rival Claude.

scholarly journals Edogawa Rampo’s short story Kagami Jigoku: A Structural Study

KIRYOKU ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 7-17
Author(s):  
Yuliani Rahmah
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Japanese Society ◽  
Modern Technology ◽  
Point Of View ◽  
The Other ◽  
Cultural Aspects ◽  
Analysis Process ◽  
Structural Methods ◽  
Modern Era

The purpose of this research is to analyze the intrinsic elements found in the short story Kagami Jigoku by Edogawa Rampo. By using structural methods the analysis process  find out the intrinsic elements which builds  the Kagami Jikoku short story. As a result it is known that the Kagami Jikoku is a short story with a mystery theme as the hallmark of Rampo as its author. The characteristic of this short story can be seen from the theme which raised the unusual obsession problem of the main characters. With the first person point of view which tells in unusual way from the other short stories, the regression plot in Kagami Jikoku is able to tell the unique phenomenon of Japanese society and its modern technology through elements of place, time and socio-cultural aspects of Japanese society in the modern era

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

Art. XIX.—An old Hebrew Romance of Alexander

1897 ◽  
Vol 29 (3) ◽  
pp. 485-549
Author(s):  
M. Gaster
Keyword(s):  
Middle Ages ◽  
Early Period ◽  
Point Of View ◽  
The Other ◽  
The West ◽  
The Real ◽  
History Of ◽  
Bibliographical Information ◽  
Ancient Times ◽  
Great Mass

More marvellous and more remarkable than the real conquests of Alexander are the stories circulated about him, and the legends which have clustered round his name and his exploits. The history of Alexander has, from a very early period, been embellished with legends and tales. They spread from nation to nation during the whole of the ancient times, and all through the Middle Ages. Many scholars have followed up the course of this dissemination of the fabulous history of Alexander. It would, therefore, be idle repetition of work admirably done by men like Zacher, Wesselofsky, Budge, and others, should I attempt it here. All interested in the legend of Alexander are familiar with those works, where also the fullest bibliographical information is to be found. I am concerned here with what may have appeared to some of these students as the bye-paths of the legend, and which, to my mind, has not received that attention which is due to it, from more than one point of view. Hitherto the histories of Alexander were divided into two categories; the first were those writings which pretended to give a true historical description of his life and adventures, to the exclusion of fabulous matter; the other included all those fabulous histories in which the true elements were smothered under a great mass of legendary matter, the chief representative of this class being the work ascribed to a certain Callisthenes. The study of the legend centred in the study of the vicissitudes to which this work of (Pseudo-) Callisthenes had been exposed, in the course of its dissemination from the East, probably from its native country, Egypt, to the countries of the West.

scholarly journals VII.—On the Geological History of the Cornish Serpentinous Rocks

1886 ◽  
Vol 3 (8) ◽  
pp. 359-367
Author(s):  
J. H. Collins
Keyword(s):  
East Coast ◽  
Point Of View ◽  
Open Cavity ◽  
The Other ◽  
Geological History ◽  
History Of ◽  
The One ◽  
Great Mass

My argument that at Porthalla there is a “passage” from hornblende-schist to serpentine; or rather that some beds of a common series have been changed into serpentine, others into hornblende-schist, and others again into a substance of intermediate character, is, I think, much strengthened by the fact that many such “apparent passages” are admitted to exist by all those who have examined the Lizard Coast with any degree of detail. De la Beche's description of that seen near the Lizard Town is as follows, and it would apply equally well to the others. “The hornblende slate,” he says, “supports the great mass of the Lizard serpentine with an apparent passage of the one into the other in many places—an apparent passage somewhat embarrassing,” that is, from his point of view; from mine it is perfectly natural. He goes on to say: “Whatever the cause of this apparent passage may have been, it is very readily seen at Mullion Cove, at Pradanack Point, at the coast west of Lizard Town, and at several places on the east coast between Landewednack and Kennick Cove, more especially under the Balk … and at the remarkable cavern and open cavity named the Frying-Pan, near Cadgwith.” At Kynance some of the laminse of serpentine are not more than one-tenth of an inch in thickness for considerable distances.

scholarly journals On Apogamy and the development of Sporangia upon fern prothalli

1898 ◽  
Vol 63 (389-400) ◽  
pp. 56-61
Keyword(s):  
Life History ◽  
Point Of View ◽  
The Other ◽  
Normal Life ◽  
Other Hand ◽  
General Importance ◽  
Two Generations ◽  
History Of ◽  
Alternation Of Generations

The two most important deviations from the normal life-history of ferns, apogamy and apospory, are of interest in themselves, but acquire a more general importance from the possibility that their study may throw light on the nature of alternation of generations in archegoniate plants. They have been considered from this point of view Pringsheim, and by those who, following him, regard the two generations as homologous with one another in the sense that the sporophyte arose by the gradual modification of individuals originally resemblin the sexual plant. Celakovsky and Bower, on the other hand, maintaint the view tha t the sporophyte, as an interpolated stage in the life-history arising by elaboration of the zygote, a few thallophytes.

Inclusion and exclusion—We and the Other. Response to Vamik Volkan’s Key-note Lecture

2018 ◽  
Vol 51 (3) ◽  
pp. 359-367 ◽  
Author(s):  
Thomas Mies
Keyword(s):  
Point Of View ◽  
The Other ◽  
Western World ◽  
Nation State ◽  
Refugee Crisis ◽  
Collective Identities ◽  
Specific Group ◽  
Norbert Elias ◽  
German Nation ◽  
History Of

This response is focused on the following question: What may be the specific group analytic point of view on phenomena as the resurgence of nationalism in the western world, the so-called refugee crisis and the confrontation with Islamism and Islamist terror? The guideline of this response will be the idea of the ‘group of individuals’, which Norbert Elias characterized as his main contribution to group analytic theory. The response will emphasize the significance of the Other for the formation of personal and collective identities. It will argue that we face the Other, not only outside our own group, but also inside, and that xenophobia goes hand in hand with the denial of real differences and conflicts inside one’s own group. Finally, the history of the German nation-state is discussed as an exemplary case.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals The Perspective of Overcoming Nihilism in Heidegger’s Dialogue with Jünger

2019 ◽  
Vol 30 (1) ◽  
Author(s):  
Tautvydas Vėželis
Keyword(s):  
Point Of View ◽  
The Other ◽  
Dialectical Thinking ◽  
Other Hand ◽  
History Of ◽  
Metaphysical Tradition ◽  
The One ◽  
Relationship Of ◽  
The Relationship ◽  
European Civilization

This article examines the problem of overcoming nihilism in Heidegger’s dialogue with Jünger. It is suggested that nihilism is manifested in various forms and is the deep logic of the whole history of European civilization. One of the main aims of this paper is to outline the relationship of nihilism and Nothing in Heidegger’s dispute with Jünger, viewing how Heidegger distinguishes his approach from Jünger’s point of view. Heidegger, on the one hand, treats nihilism as consummation of the Western metaphysical tradition, on the other hand, identifies Nothing itself as the shadow of Being, which cannot be overcome in the traditional dialectical thinking manner.

scholarly journals José Vasconcelos: mito iberoamericanista o filosofía estética iberoamericana

2013 ◽  
pp. 37-54
Author(s):  
Roberto Luquín Guerra
Keyword(s):  
Point Of View ◽  
The Other ◽  
Theoretical Point ◽  
Educational Work ◽  
Jose Vasconcelos ◽  
Philosophical Thought ◽  
Other Hand ◽  
History Of ◽  
American Thought ◽  
Cultural Message

Apart from his political and educational work, and from his controversial autobiography, José Vasconcelos is known for his Ibero-Americanist thought. The Cosmic Race, Indology and Bolivarism and Monroeism gather all the ideas that are attributed to his theoretical point of view. His philosophy is what we know less of and what is most criticized. Nonetheless, is there a connection between his philosophical thought and his Ibero-Americanist ideas? Abelardo Villegas says that Vasconcelos’s philosophy is the product of a racial and cultural message. Therefore, according to Villegas, his philosophy is subordinated to his Ibero-Americanist ideas. Patrick Romanell, on the other hand, states that the Ibero-Americanist ideas make up the popular and illusory side and, hence, must be separated from the philosophical thought. The aim of this paper is to elucidate this problem. In order to clarify it, we will follow Villegas viewpoint to the bitter end. His reasoning invites us to look closely at the history of Ibero-American thought as well as at Vasconcelos’s first works. Precisely by analyzing these two aspects and the point where they meet, we might be able to find an answer.

scholarly journals The system of points of view in Vasily Shukshin's short stories

2021 ◽  
Vol 27 (3) ◽  
pp. 148-154
Author(s):  
Natalia A. Guz ◽  
Yulia G. Babicheva
Keyword(s):  
Short Stories ◽  
Scientific Understanding ◽  
Point Of View ◽  
The Other ◽  
Frequent Change ◽  
History Of ◽  
Points Of View ◽  
First Time

The purpose of the work is to explore the point of view in Vasily Shukshin's short stories in its systematic and diverse manifestation. Topicality is provided by the exceptional significance of this category in narratology. The study of the point of view based on the material of short stories by Vasily Shukshin has been conducted for the first time. The article briefly traces the history of scientific understanding of the category of point of view in foreign and Russian philology and notes the variety of approaches and definitions in the formulation of the concept. The authors use the classification of Boris Uspenskij for analysis and consider the point of view in Vasily Shukshin's short stories in psychological, ideological (evaluative), spatial-temporal and phraseological terms. The positions of Boris Korman, Yuri Lotman, Wolf Schmid and Franz Karl Stanzel also take into account. The authors note the features of Vasily Shukshin's narration that affect the expression of the point of view in the text. Vasily Shukshin's short stories are characterised by a dynamic and frequent change of points of view, which indicates the technique of “montageˮ and similarities in this regard with cinematic techniques. The conclusions generalise the variety of ways and forms of expression of the point of view in the studied artistic material. The point of view in the considered stories is characterised by variability in the correlation of subjects of speech and subjects of consciousness, alternation of external and internal points of view, mutual transitions from one to the other, text interference and other hybrid phenomena.

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