scholarly journals Body–Soul and the Birth and Death of Man: Benedict Hesse’s Opinion in the Mediaeval Discussion

2021 ◽  
Vol 69 (2) ◽  
pp. 39-63
Author(s):  
Wanda Bajor

This issue was discussed with regard to chosen commentaries to Aristotle’s treatise De anima, formed in the so-called via moderna mainstream, in particular those of John Buridan, Nicole Oresme and Laurentius of Lindores. In such a context, the Cracovian commentaries referring to Parisian nominalists were presented by those of Benedict Hesse and Anonymus. The analyses carried out above allow one to ascertain that although William of Ockham’s opinion questioning the possibility of knowledge of the soul in the field of philosophy, nominalists of the late Middle Ages did not resign from speculation on the beginning (birth) and the separation (death) from the body of the soul, also the fate of the soul after death. They focused on the nature of the matter – human body (embryo, semen) and his relation with the soul (forma) – in the moment of birth. In the aspect of death 14th century scholars undertook the struggle, which was one with the justification of the psycho-physical unity of the human being existing after death solely as an immortal soul.  In both thems, they tried to find their solutions, while if they could not solve these aporeticals questions – they had the courage to admit, that is not possible by solely relying on the natural forces of reason. They had to refer to the teaching of christianity, without however falling prey to fideism. This was a methodical endeavour based on the experience that natural reason in searching for the truth is not capable of its own efforts to attain to certain concepts and might on occasion err, it is then that faith becomes its guide and supplies it with more acceptable solutions. This is the courage of one of the greatest philosophers – Plato, who said that you have to have this “great courage” to undertake only probable knowledge, when another is not possible.

2011 ◽  
Vol 23 ◽  
pp. 197-205
Author(s):  
Sandra Junker

This article deals with the idea of ritual bodily impurity after coming into contact with a corpse in the Hebrew Bible. The evanescence and impermanence of the human body testifies to the mortality of the human being. In that way, the human body symbolizes both life and death at the same time; both conditions are perceivable in it. In Judaism, the dead body is considered as ritually impure. Although, in this context it might be better to substitute the term ‘ritually damaged’ for ‘ritually impure’: ritual impurity does not refer to hygienic or moral impurity, but rather to an incapability of exercising—and living—religion. Ritual purity is considered as a prerequisite for the execution of ritual acts and obligations. The dead body depends on a sphere which causes the greatest uncertainty because it is not accessible for the living. According to Mary Douglas’s concepts, the dead body is considered ritually impure because it does not answer to the imagined order anymore, or rather because it cannot take part in this order anymore. This is impurity imagined as a kind of contagious illness, which is carried by the body. This article deals with the ritual of the red heifer in Numbers 19. Here we find the description of the preparation of a fluid that is to help clear the ritual impurity out of a living body after it has come into contact with a corpse. For the preparation of this fluid a living creature – a faultless red heifer – must be killed. According to the description, the people who are involved in the preparation of the fluid will be ritually impure until the end of the day. The ritual impurity acquired after coming into contact with a corpse continues as long as the ritual of the Red Heifer remains unexecuted, but at least for seven days. 


Author(s):  
Oksana Romaniuk ◽  
Bohdan Zadvornyi

The article is devoted to theoretical and methodological substantiations of the body flexibility development practically applying the stretching techniques. It was generalized scientific data on the organization and methodological features of stretching exercises. Semantic content and structural componential model of stretching usage in the process of flexibility development and the estimation of the changes of this characteristic according to the age were carried out. In particular, some parameters were highlighted especially which allow to recommend that methodology both for individual and group usage were analyzed. Besides, it was analyzed the diversity of physiological mechanism of the influence of stretching on human body, especially it was singled out the effect on mental and physical spheres of human being. The generalized scientific data on the theoretical and practical aspects of flexibility development with the help of stretching techniques indicate the priority of usage of this method in many types of physical activities irrespective of the scope of its practical application.


2016 ◽  
Vol 5 (1) ◽  
pp. 103-111
Author(s):  
Carlos Rios Llamas

ABSTRACTFoucault conceived the human being as defined by biopower forces. After that, the industrial society treated the body as an element of the production process, and the care of the self was derived to healthcare institutions. Recently, Paula Sibilia studied the industrial human being from the capitalism on his transformation through technology and digital hybrids. She thinks that the human body could be at the end in the form we know it. But in the perspectives of both Foucault and Sibilia, the body projects could be at their own obsolescence because they leave a key element aside: the obesogenic environment which is implicit into the current modern technological society. This abstract pretends to visualize how body projects and modernity are interconnected and confronted, from their assumptions and fundamentals, against obesity. RESUMENDe acuerdo con Faucault el cuerpo humano es modelado a partir de dispositivos que corresponden con las formas de poder y con las funciones que se le asignan en una sociedad y en una situación espaciotemporal específica. En esta lógica, el cuidado del cuerpo frente a la obesidad como amenaza, se habría de estudiar desde el entorno social y su evolución en las últimas décadas. Así, mientras que a mediados del siglo XX, las sociedades industriales definieron el cuerpo por su utilidad en los procesos de producción, y el cuidado de uno mismo se derivó a las instituciones como garantes del bienestar, en las últimas décadas las hibridaciones tecnológicas y digitales amenazan el cuerpo biológico y cultural en la forma que lo conocemos. Algunos autores indican que esta forma de cuerpo podría llegar a su fin ante la imbricación de nuevos aditamentos como prótesis, dopaje y alteraciones quirúrgicas. En una lectura desde el margen de los avances en el campo tecnocientífico y biopolítico, todos los proyectos de corporeidad encontrarían hoy su propia obsolescencia ante la obesidad que se instituye como pandemia y que amenaza al cuerpo desde la cultura, la medicina, la economía, la política y los estudios ambientales. Es oportuno, entonces, develar los vínculos entre el cuidado del cuerpo y la contemporaneidad, y desde la obesidad como amenaza de los supuestos avances tecnocientíficos. Por eso, en la conceptualización de “ambientes obesogénicos” se abre una posibilidad para analizar el proyecto contemporáneo de cuerpo desde los espacios donde se construye y se modela su cuidado, y a partir de sus formas de resistencia ante los cambios tecnocientíficos.


2018 ◽  
Vol 73. (3) ◽  
pp. 409-410
Author(s):  
Mirela Lenković

The Danse Macabre as an iconographic theme appears in the Middle Ages across all of Europe carrying within it a message of the equality among people regardless of their station in life. Medieval artists used the various templates available to them: Biblia pauperum, Meditationes Vitae Christi, Legenda aurea, artistic templates, woodcuts, illuminated manuscripts, and the like. Scenes of the dying and death of ordinary people were not a theme of iconographic content prior to the Late Middle Ages, but rather begin to appear in the 14th century. There emerge at that time several categories of iconographic deaths. The Danse Macabre of the Beram frescoes (in the Chapel of sv. Marija na Škrilinah, 1474) contributes immeasurably to the artistic heritage of the Middle Ages as well as to Croatian cultural heritage.


2018 ◽  
pp. 146-172
Author(s):  
Eric Daryl Meyer

Chapter 6 takes up the end of the human story with God, the eschatological transformation of the human being through the resurrection of the body end entry into perfect communion with God. Conventionally, theologians have imagined resurrected of human body as being whole and intact, but with several basic vital functions negated—namely digestion and sexual expression. Arguing that such a maneuver safeguards the materiality of the human body precisely by negating its animality, this chapter seeks to construct a vision of transformed human life with God in which digestion and sexual expression are at the center of human communion with God and fellow creatures. The chapter’s efforts are aided by the wealth of the tradition itself: biblical and liturgical imagery such as the wedding feast of the Lamb, eucharistic theology, and Christian nuptial mysticism.


2020 ◽  
Vol 25 (02) ◽  
pp. 251-255
Author(s):  
Du Hyun Ro ◽  
Hyun Sik Gong

Homunculus is a term used to refer to any representation of a miniature human being. In scientific fields, the word homunculus has been used to refer to any scale model of the human body that represents physiological, psychological, or other human functions. The hand is thought as a homunculus of the body in Hand Acupuncture Therapy, a type of alternative medicine in Korea. Hand acupuncture therapists believe stimulating the hand can improve bodily health. Although there is a need for scientific evidence regarding this concept, those that perform hand acupuncture seem to recognize the importance of hand in our body.


Author(s):  
Riccardo Berardi

The aim of this paper is to reassess the history of the Sanseverino family, princes of Bisignano in Calabria in the Late Middle Ages; by focusing on a specific and unpublished source: the so-called “reintegre or platee” as written in the first half of the 16th century. These are public sources mostly enlisting properties and benefits; they serve the purpose of re-possessing the privileges taken from the princes themselves over the previous century. The paper will therefore focus not only on the management and character of the seigneurial landholdings but also on the reconstruction of both the local networks of power exerted on the population and the local political system. It will shed new light on the still debated historiographical issue centered on the seigneurial authority in southern Italy by assessing its local rooting and pervasiveness since the 14th century.


Author(s):  
Al'bert Tagirovich Akhatov

The subject of this article is the Old Ivanovskoe cemetery that existed in the territory of Ufa. The goal consists in examination of the key stages in development of this necropolis since the moment was sketched in the city plan in 1819 until its complete destruction in the 1950s. Special attention is given to localization of this burial ground in Ufa town planning patter in accordance with the data of cartographic materials of the XIX – middle of the XX centuries, and history of its archaeological research conducted in 1990 and 2002. The novelty of this work consists in introduction into the scientific discourse of new archival documents, systematization of cartographic and published materials on the history of Old Ivanovskoe cemetery, as well as Ioanno-Predtechensky Cathedral that functioned on its territory. Analysis of the existing sources and literature allow concluding that the history of necropolis prior to the Revolution of 1917 was closely related to the development of spatial structure of Ufa, while after the Revolution – with the sociopolitical processes that unfolded throughout the country. Thanks to archaeological research, Old Ivanovskoye cemetery, even after its destruction, elaborates representations on the material and spiritual culture, anthropological and paleopathological characteristics of the Ufa population in the past. Therefore, the author raises the question on the need to publish the materials acquired during the excavations in full, and preserve necropolis as the object of archaeological heritage of the Late Middle Ages and Modern Age.


2020 ◽  
Vol 7 (3) ◽  
pp. 104-135
Author(s):  
L. Novoselova

In this article, an attempt is made to determine the legal status of the human body (organs and tissue) both while a person is alive and after a person dies. The article discusses the points of view of various authors in relation to the possibility of considering the human body, its organs and tissue, after their separation from the body, as objects of a person’s property rights, and also as an object of a person’s non-property rights. The article argues the impossibility of qualifying the human body and the organs that were not separated from it during life as parts – and perhaps critical parts – of the existence of the total human being, as objects of real (property) rights including the rights of the persons themselves. The human body as a single object is a personal non-property benefit. The organs and tissue separated from the body may be considered objects of real rights, but on several conditions: if they were indeed separated from the body and if the person gave permission for this in a will. The specific characteristics of the legal status of the separated organs and tissue of a human being are analyzed as things (possessions) with limited turnover. The specific characteristics of the legal status of the organs and tissue separated from the body as possessions in limited turnover are reviewed as well as the impact of personal non-property rights on this status. The main focus of the article is on the legal status of the human body and the organs separated from it after death in view of the fact that transplantology and postmortem organ donation are becoming more and more widespread. This issue is analyzed in terms of the body as a whole and as it applies to the organs and tissue that are not used for transplantation. The proposal is to base our analysis on the status of the human body after death which as a rule cannot be the object of property rights. The human body is disposed of within the framework of the protection of the personal non-property rights of the deceased, including the right of physical inviolability that covers the organs and tissue separated from the body. The article characterizes the legal nature of living wills when people give instructions as to the procedure of their burial and other means of handling their body, including donation of their bodies to science. The article examines the possibility of the right of ownership to organs and tissue separated from the body after death. This right can exist if a complex legal construct is present, including a direct or assumed living will of the person. The specific characteristics of living acts concerning the possibility of after-death organ and tissue harvesting for further use, including for transplantation purposes, and the differences between such acts and last wills are determined.


Ars Adriatica ◽  
2016 ◽  
pp. 81
Author(s):  
Emil Hilje

Notarial signs serving to authenticate private and public legal documents emerged in Dalmatia during the 12th century, and by the late Middle Ages they had become a mandatory part of official documents written on parchment for the legal parties. These signs were graphic as a rule: more or less elaborate drawings with decorative motifs, occasionally with integrated typography, yet without any figural elements. Among the very diverse forms of notarial signs preserved in Croatian archives, that of Split’s canon and Zadar’s notary Helias deserves special attention: instead of using a simple graphic symbol, he depicted a young man’s torso, which for several reasons may be presumed to be his self-portrait. More than fifty notarial signs by Helias have been preserved, but it may be presumed that he produced more than a thousand during more than two decades of his career as a notary. These signs are drawing of very small dimensions (3 x 1.5 cm on the average) and most probably not a result of “artistic” ambition, presuming that such terminology applies at all to the visual production of the time. As many other literate men, Helias probably indulged in drawing and incorporated some of this inclination and skill into his work in a peculiar manner. Over the period of two decades, the depicted figure went through several transformations. Starting from a relatively realistic and quite detailed depiction, in the second phase Helias simplified the drawing and enhanced its elements of caricature, ending with a partially stylized and unified version of his sign. Generally speaking, his drawings were closer to the genre of caricature than an official visual representation, which is why he could style them rather freely as compared to the norms that could be observed in the professional circles, especially in the monumental painting of the 14th century. Despite the fact that they seem somehow timeless, their visual features indicate certain knowledge of the formal language of representative painting. Helias’s skilful handling of lines and the ease with which he used a minimum of expressive devices to outline not only the portrait itself, but also the psychological characteristics of the depicted person, are basically a legacy of Gothic visual culture. Self-portrait as a form, albeit absent at least declaratively from medieval monumental painting, was nevertheless present, even if quite rarely and only in isolated cases, in medieval miniature painting (e.g. the self-portraits of St. Dunstan, the notary Vigil, the painter Hildebertus and his assistant Everwinusa, friar Rufillus, the nun Gude, the miniature painter Matthew Paris, or the illuminator Richard de Montbaston and his wife Jeanne). Nevertheless, the paucity of such examples, as well as the spatial and temporal (partly also cultural) distance, makes it difficult to assess the place of Helias’s self-portraits within a broader context. In any case, the group of some fifty portraits from the 14th century, regardless of their dimensions and character, is certainly a peculiar phenomenon in the context of European visual culture. The key point is thereby not the artistic quality of the drawings, but rather the variety of visual communication in 14th-century Dalmatia.


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