The Jus Gentium as Universal Order

‘Civilization’ was a major keyword in the Italian Catholic discourse of the nineteenth century and the first half of the twentieth. Indeed Catholic Christian civilization was seen as synonymous with true civilization itself insofar as the post-classical era was concerned. The concept of ‘Christian civilization’ was closely allied to that of cristianità, as distinct from cristianesimo (Christianity). The terms cristianità and chrétienté, like English ‘Christendom’, had originally had primarily geographical connotations, but in post-Revolutionary Catholic thought they acquired connotations of a Christian order of society under the leadership of the Church, the evils of the modern world being presented as consequences of its breakdown. The allied discourse on ‘Christian civilization’ itself in the Italian Catholic world, as in the French one, was in large measure reactionary in character, associated with Counter-Revolutionary ideology and with opposition to liberalism. It asserted that a return of society to the Church was a precondition of social order. Thus the myth of a lost universal order offered a paradigm for the future.

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Le Corbusier: architecture, music, mathematics: longing for classicism?

Le Corbusier, 50 years later. Conference proceedings. ◽

10.4995/lc2015.2015.791 ◽

2015 ◽

Cited By ~ 1

Author(s):

Clara Germana Gonçalves ◽

Maria João Dos Reis Moreira Soares

Keyword(s):

Seventeenth Century ◽

Le Corbusier ◽

Palabras Clave ◽

The Will ◽

Music And Mathematics ◽

And Mathematics ◽

Universal Order ◽

Siglo Xx ◽

The Universe

Abstract: This paper aims to study the role of the relationships between architecture, music and mathematics in Le Corbusier's thought and work and their relevance in his reinterpretation of classical thinking. It seeks to understand to what extent working with this triad – a foundational and, up until the seventeenth century, dogmatic aspect of architecture in general and of its aesthetics in particular – expresses a will not to break with the fundamental and defining aspects of what could be considered as architectural thought rooted in classical tradition: that which is governed by the will to follow the universal order in the work of art; building a microcosmos according to the macrocosmos; linking, in proportion to one another, the universe, man and architecture. The Modulor presents itself as a manifestation of that will, synthesizing these aspects while proposing itself as an instrument for interdisciplinary thought and practice in which the aforementioned aspects of classical thought are present, clearly and pronouncedly. Le Corbusier’s thought and work presents itself as a twentieth century memory of an ancient and ever present tradition conscious of its struggle for “humanity”. Resumen: Este artículo pretende estudiar el papel de la relación entre arquitectura, música y matemática en el pensamiento y la obra de Le Cobusier y su significado en su reinterpretación del pensamiento clásico. Intenta entender en qué medida con esta triada – aspecto fundacional y hasta el siglo XVII dogmático de la arquitectura, en general, y de su estética, en particular – Le Corbusier expresa su recusa por cortar el vínculo con los aspectos fundamentales y definidores de lo que puede considerarse un pensamiento de tradición clásica en arquitectura: aquel tutelado por la voluntad de seguir el orden universal en la obra de arte – construyendo un microcosmos según un macrocosmos – para así vincular, a través de la proporción, universo, Hombre y arquitectura. El Modulor se presenta como manifestación de esa voluntad, sintetizando estos aspectos y presentándose como un instrumento para un pensamiento y una práctica interdisciplinares en los cuales el pensamiento clásico se encuentra clara y marcadamente presente. El pensamiento de Le Corbusier, través su mirada hacia la relación arquitectura-música-matemática, se presenta, en el siglo XX, como una memoria de una antigua y siempre presente tradición, consciente de su busca por “humanidad”. Keywords: Le Corbusier; Architecture, music and mathematics; classical thought; Modulor. Palabras clave: Le Corbusier; Arquitectura, música y mathematica; pensamiento clásico; Modulor. DOI: http://dx.doi.org/10.4995/LC2015.2015.791

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Hope, or On Theology

The Political Philosophy of Fénelon ◽

10.1093/oso/9780190079635.003.0007 ◽

2020 ◽

pp. 170-197

Author(s):

Ryan Patrick Hanley

Keyword(s):

Political Philosophy ◽

The Political ◽

Human Being ◽

Political Implications ◽

Self Interest ◽

Relationship Of ◽

Universal Order ◽

The Relationship ◽

Theological Virtue

Chapter 6 turns to Fénelon’s theology, focusing on his treatment of hope and its significance for his political philosophy. It argues that he regarded hope not just as a key theological virtue, but also as a key virtue of political rulers and political reformers. Its discussion of the political implications of Fénelon’s theology proceeds in three parts. It first examines the role of hope in Telemachus. It then turns to the treatment of hope in Fénelon’s theology, focusing on three particular discussions: the place of hope in love, the relationship of hope to self-interest, and the place of hope in prayer. The final section turns to two aspects of Fénelon’s theology beyond hope which also have significant implications for his political philosophy: his understanding of the relationship of human being to divine being, and his arguments for the existence of God and their implications for universal order.

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Chapter II. THE IDEA OF PROGRESS IN HISTORY AND THE ESTABLISHMENT OF A UNIVERSAL ORDER UNDER LAW

Inevitable Peace ◽

10.4159/harvard.9780674332577.c2 ◽

1948 ◽

pp. 50-75

Keyword(s):

Universal Order

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Semantic Extension in the Colour Lexicon

Studies in Language ◽

10.1075/sl.7.1.03kik ◽

1983 ◽

Vol 7 (1) ◽

pp. 25-64 ◽

Cited By ~ 1

Author(s):

Atsuko Kikuchi ◽

František Lichtenberk

Keyword(s):

Linguistic Study ◽

Semantic Extension ◽

The World ◽

Universal Order ◽

Colour Terms

A cross-linguistic study of the figurative use of colour terms reveals the existence of both language-idiosyncratic developments and general tendencies. It is argued that both types of development are ultimately grounded in the experience of the world by the speakers of the languages. Furthermore, the findings contradict the claim that there exists a universal order in the development of the figurative use of colour terms.

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