DOCSLIB.ORG

The Dialectic of Artistic Form Aleksei Fyodorovich Losev the Dialectic of Artistic Form Translated, Annotated, Andintroducedby Oleg V

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dialectic of Artistic Form Aleksei Fyodorovich Losev the Dialectic of Artistic Form Translated, Annotated, Andintroducedby Oleg V 148mm 26mm 148mm ATS . 96 Aleksei Fyodorovich Losev he early aesthetics of Alexei Losev is one of the best examples Tof pre-communist Russian thought and one of the last attempts The Dialectic of Artistic Form to build a grand philosophical system on the basis of pagan and Christian Neoplatonism, Russian personalism, phenomenology, and the dialectical trend in German Idealism. Losev’s brilliant Aleksei Fyodorovich Losev dialectical-phenomenological thinking anticipates many twentieth- century discoveries in phenomenological and dialectical aesthetics within a coherent and elegant account of artistic form. Losev’s insights into the nature of aesthetic perception and artistic form also anticipate many recent discoveries in neurobiological aesthetics, thus harmonizing the phenomenological approach in aesthetics with the scientific. The translation of Losev’s aesthetic treatise is prefaced by a thorough analysis of Losev’s sources and 210mm an outline of the continuing relevance of his aesthetic theory to present-day aesthetics. The Dialectic of Artistic Form Translated, annotated, and introduced by Oleg V. Bychkov ISBN 978-3-86688-308-6 Worldwide Distributor: ISBN (eBook): 978-3-86688-309-3 Edited by Daniel L. Tate ISBN (USA): 978-1-938380-01-3 KUBON & SAGNER Serving libraries since 1947 VERLAG OTTO SAGNER Verlag Otto Sagner Digital 9 7 8 3 8 6 6 8 8 3 0 8 6 VERLAG OTTO SAGNER The Dialectic of Artistic Form Arbeiten und Texte zur Slavistik Begründet von Wolfgang Kasack Herausgegeben von Frank Göbler und Rainer Goldt Band 96 Verlag Otto Sagner München – Berlin – Washington D. C. Aleksei Fyodorovich Losev The Dialectic of Artistic Form Translated, annotated, and introduced by Oleg V. Bychkov Edited by Daniel L. Tate Verlag Otto Sagner à München – Berlin – Washington D. C. 2013 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbi- bliografie; detailed bibliographic data are available on the Internet at <http://dnb.d-nb.de> First published in Moscow, 1927, in Russian as Dialektika khudozhestvennoy formy Russian text © Aza Alibekovna Taho-Godi, heiress of Aleksei Fyodorovich Losev Translation © 2013 Oleg Bychkov Photo for the cover courtesy Aza Alibekovna Taho-Godi © 2013 by Kubon & Sagner GmbH Heßstraße 39/41 80798 München (Germany) www.kubon-sagner.com «Verlag Otto Sagner» is an imprint of Kubon & Sagner GmbH. All rights reserved, including the rights of translation. No part of this book may be reproduced in any way without the permission of the publisher. Cover: Christopher Triplett Printed in Germany by: Difo Druck ISSN 0173-2307 ISBN: 978-3-86688-308-6 ISBN (eBook): 978-3-86688-309-3 ISBN (USA): 978-1-938380-01-3 Contents Introduction..................................................................................... 1 Abbreviations.................................................................................. 131 The Dialectic of Artistic Form Preface............................................................................................ 135 I. Main definitions 1. The primary dialectical tetractys................................................. 139 2. Some necessary dialectical details within the structure of the tetractys....................................................................................... 144 3. Tetractys as intelligence.............................................................. 151 4. The categorial structure of the energy of the essence (and in particular of its expression)........................................................ 163 5. A phenomenologo-dialectical map of the real name, or of energetic expressiveness............................................................. 169 6. The definition of the notion ‘artistic form’................................. 173 II. Antinomics 7. A phenomenological dialectic of the notion ‘artistic form.’ Antinomies of fact...................................................................... 177 8. Antinomies of understanding, or expression (ΐΉΘ΅ΒϾ)............. 180 9. Antinomies of meaning.............................................................. 187 10. Antinomies of myth.................................................................. 199 11. Antinomies of adequateness..................................................... 205 12. Antinomies of isolation, or of isolated autarky (self-suffici- ency)......................................................................................... 226 13. Summary of the phenomenologo-dialectical analysis of the notion ‘artistic form’................................................................. 233 vi Contents III. Transition to specific branches of aesthetics 14. Classification of the types of artistic form: a) eidetic types..... 241 15. Classification of the types of artistic form: b) mythical types and c) person-based types........................................................ 252 16. Classification of the types of artistic form: d) modificational person-based types.................................................................... 257 17. Classification of the types of artistic form: e) stylistic and f) compositional types.................................................................. 278 18. General overview of the dialectic of particular types of artistic form............................................................................... 284 Endnotes.......................................................................................... 291 Appendices Appendix 1 (Endnote 32). Classification of teachings about the ideas............................................................................ 345 Appendix 2 (Endnote 46). Identity of the subject and object in pure feeling................................................................. 351 Appendix 3 (Endnote 55). Genesis of dialectical aesthetics in modern philosophy (Kant, Schiller, Goethe, Fr. Schlegel, Fichte, Novalis, Schelling, Schleiermacher, Romanticism and Classicism).......... 355 Appendix 4 (Endnote 56). The dialectical place of music as the primary principle of artistry........................................ 380 Appendix 5 (Endnote 57). Classification of the arts in Kant, Schopenhauer, Schelling, Hegel, Weisse, Vischer..... 386 Appendix 6 (Endnote 61). Schelling on the schema, allegory, and symbol. Hegel on the symbolic, Classical and Romantic in art............................................................ 394 Bibliography................................................................................... 399 Introduction English-speaking readers already have been introduced by Vladimir Marchenkov to the life and academic achievements of Alexei Losev, the last survivor of the generation of great Russian philosophers born and educated before the 1917 communist revolution.1 Marchenkov has provided a brief biography of the thinker in English ([4]-[12]), has commented generally on the style and tone of Losev’s early philosophical works, and has introduced his philosophy of myth. The present Introduction therefore will not duplicate these tasks, instead referring the reader to Marchenkov’s essay, and limit itself to the following three. First, it will track the sources of Losev’s philosophy of artistic form. Second, it will situate Losev’s aesthetic thought within contemporaneous philosophical systems as profoundly Russian Orthodox, Neoplatonic, and at the same time profoundly German at its roots. Third, it will demonstrate the present-day importance and validity of his philosophical investigations in the realm of aesthetics and philosophy of art by drawing parallels between Losev’s aesthetics and several later twentieth- century aesthetic theories which he anticipates, and by examining Losev’s theory in light of present-day scientific approaches in aesthetics. The first 1 See V. Marchenkov, “Translator’s Introduction: Aleksei Losev and his Theory of Myth,” in A.F. Losev, The Dialectics of Myth, trans. V. Marchenkov (London and New York: Routledge, 2003), [3]-[65]. Scholars who read Russian can benefit from the following insightful introduction to the most recent 2010 edition of the Dialectic of Artistic Form: V.V. Bychkov, “Vyrazheniye nevyrazimogo, ili irratsional’noye v svete ratio” (The Expression of the Inexpressible, or the Irrational in the Light of ratio), in A.F. Losev, Dialektika khudozhestvennoy formy (Moscow: Akademicheskij proyekt, 2010), 5-30. Cf. idem, “Russian Aesthetics of the Early Twentieth Century on the Essence of Art,” in Celebrating Creativity: Essays in Honor of J. Bortnes, ed. K.A. Grimstad and I. Lunde (Bergen: University of Bergen, 1997), 325-36. Cf. my own earlier attempt at analyzing Losev’s aesthetics: O. Bychkov, “Alexej Losev: A Neoplatonic View of the Dialectic of Absence and Presence in the Nature of Artistic Form,” in Neoplatonism and Contemporary Thought, Part Two, ed. R. Baine Harris, Studies in Neoplatonism: Ancient and Modern 11 (Albany: State University of New York Press, 2002), 163-79. 2 O.V. Bychkov task is made much easier due to the presence of an immense apparatus at the end of the Dialectic of Artistic Form (DAF) where Losev documents meticulously the sources of his ideas, from ancient Greek to early twentieth- century. The second task is more difficult because there are still relatively few studies that investigate fundamentally the place of Losev’s early philo- sophical system, apart from studies of his relation to the phenomenological thought of E. Husserl. Finally, the third task remains
Load more

Recommended publications
  • Issue II — July 2009
    Volume II VolumeIssueVolume II II II IssueJulyIssue 2009II II JulyJuly 2009 2009 Dr. Christa Davis Acampora Dr. Benjamin Moritz Cem Aydogan Hermann Nitsch Dr. Babette Babich Dr. Kelly Oliver Dr. Nicholas Birns Board of Advisors Lance Olsen Dr. Arno Böhler Dr. Graham Parkes Dr. Tony Brinkley Keith Ansell-Pearson Dr. Thomas Brobjer Dr. Philip Pothen Mark Daniel Cohen Dr. Timothy Quigley Dr. Véronique Fóti Prof. Alan Rosenberg Dr. Terri J. Gordon Dr. Ofelia Schutte Dr. Jennifer Anna Gosetti-Ferencei Dr. Gary Shapiro Dr. Susanne Granzer Dr. Walter Sokel Pierre Hadot Dr. Joan Stambaugh Dr. Lawrence Hatab Mark Strand Dr. Horst Hutter Dr. Yunus Tuncel Dr. David Kilpatrick Dr. Gianni Vattimo Joseph Kosuth Paul van Tongeren Donald Kuspit Kim White Dr. Laurence Lampert Colin Wilson Vanessa Lemm Patrick Wotling Linda Lewett Dr. Irvin Yalom Paul S. Loeb John Bell Young Dr. James Luchte Gérard Zuchetto Tali Makell James Mangiafico Volume II Issue II J u l y Volume II Issue II J u l y VolumeVolume II II IssueIssue II II JJuly u l2009 y Publisher Nietzsche Circle, Ltd. Editor in Chief Review Editor Rainer J. Hanshe Yunus Tuncel Editorial Board Rainer J. Hanshe Yunus Tuncel David Kilpatrick Art Production Logo Design Tim Syth Liliana Orbach Advertising Donations Andre Okawara Katie Creasy (Donations can be made at http://nietzschecircle.com) Nietzsche Circle Event Poster Design Doerthe Fitschen-Rath Nietzsche Circle Website Design Hasan Yildiz (http://designkillsme.com) Letters to the editors are welcome and should be emailed to: [email protected]. The Agonist is published Oct, January, April, July by Nietzsche Circle, Ltd.
    [Show full text]
  • The Case of Pavel Florensky
    MATHEMATICS AS THE KEY TO A HOLISTIC WORLD VIEW: THE CASE OF PAVEL FLORENSKY Vladislav Shaposhnikov* It is well known that Pavel Florensky highly praised mathematics through- out his life. Let us take his letter of 12 November 1933 to his daughter Olga as an example: «Mathematics should not be a burden laid on you from without, but a habit of thought1: one should be taught to see geometric relations in all reality and to discover formulae in all phenomena»2. But God is in the details, the saying goes, so it is worth specifying Florensky’s ideas on the subject. In this paper, I will attempt to reconstruct the main strands of his rather ambitious project concerning mathematics. A body of literature on the topic is far from being rich and exhaustive. Around 1987, some of Aleksei Losev’s amazing reminiscences of Pavel Flo- rensky were recorded and eventually published in 1990. Losev talked about “identity of philosophy and mathematics” in Florensky and insisted on Flo- rensky’s “great discovery” that mathematical objects are perceptional and alive3. The discussion was initiated by 1985-1989 publications by Sergei M. Polovinkin on Florensky’s «philosophical-mathematical synthesis»4 and by Sergei S. Demidov (joined in the 1990s by Charles E. Ford) on Florensky’s place in the history of mathematics5. I have been taking part in the discussion * Associated professor, Faculty of Philosophy, Lomonosov Moscow State University, Russia. 1 The previous part of the sentence is given in Avril Pyman’s translation. See A. PYMAN, Pavel Floren- sky: A Quiet Genius, Continuum, New York 2010, 160.
    [Show full text]
  • Landmarks Revisited the Vekhi Symposium 100 Years on C U Lt U R a L R E V O Lu T I O N S : R U S S I a I N T H E 20 T H C E N T U Ry
    Landmarks Revisited The Vekhi Symposium 100 Years On C u lt u r a l r e v o lu t i o n s : r u s s i a i n t h e 20 t h C e n t u ry s e r i e s e d i to r Boris Wolfson—Amherst College e d i to r i a l B oa r d : Anthony Anemone—The New School Robert BiRd—The University Of Chicago eliot BoRenstein—New York University Angela BRintlingeR—The Ohio State University Karen evAns-RomAine—Ohio University Jochen HellBeck—Rutgers University lilya KAgAnovsKy—University Of Illinois, Urbana-Champaign Christina KiAeR—Northwestern University Alaina lemon—University Of Michigan simon morrison—Princeton University eric NaimAn—University Of California, Berkeley Joan neuBeRgeR—University Of Texas, Austin ludmila Parts—Mcgill University ethan Pollock—Brown University Cathy Popkin—Columbia University stephanie SandleR—Harvard University Landmarks Revisited The Vekhi Symposium 100 Years On E di t E d b y R o b i n A i z l E w o o d A nd R u t h C oAt E s BOSTON / 2013 Library of Congress Cataloging-in-Publication Data: A bibliographic record for this title is available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-618811-286-6 (hardback) ISBN 978-1-61811-287-3 (electronic) Book design by Ivan Grave Published by Academic Studies Press in 2013 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license.
    [Show full text]
  • Rūta Stanevičiūtė Nick Zangwill Rima Povilionienė Editors Between Music
    Numanities - Arts and Humanities in Progress 7 Rūta Stanevičiūtė Nick Zangwill Rima Povilionienė Editors Of Essence and Context Between Music and Philosophy Numanities - Arts and Humanities in Progress Volume 7 Series Editor Dario Martinelli, Faculty of Creative Industries, Vilnius Gediminas Technical University, Vilnius, Lithuania [email protected] The series originates from the need to create a more proactive platform in the form of monographs and edited volumes in thematic collections, to discuss the current crisis of the humanities and its possible solutions, in a spirit that should be both critical and self-critical. “Numanities” (New Humanities) aim to unify the various approaches and potentials of the humanities in the context, dynamics and problems of current societies, and in the attempt to overcome the crisis. The series is intended to target an academic audience interested in the following areas: – Traditional fields of humanities whose research paths are focused on issues of current concern; – New fields of humanities emerged to meet the demands of societal changes; – Multi/Inter/Cross/Transdisciplinary dialogues between humanities and social and/or natural sciences; – Humanities “in disguise”, that is, those fields (currently belonging to other spheres), that remain rooted in a humanistic vision of the world; – Forms of investigations and reflections, in which the humanities monitor and critically assess their scientific status and social condition; – Forms of research animated by creative and innovative humanities-based
    [Show full text]
  • 1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
    Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism.
    [Show full text]
  • ATINER's Conference Paper Series PHI2014-1266
    ATINER CONFERENCE PAPER SERIES No: PHI2014-1266 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series PHI2014-1266 The Transformation of the Ancient Worldview in the Consciousness of a Medieval Man Elena Akhmaeva PhD Candidate Lobachevsky State University of Nizhniy Novgorod Russia 1 ATINER CONFERENCE PAPER SERIES No: PHI2014-1266 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. The papers published in the series have not been refereed and are published as they were submitted by the author. The series serves two purposes. First, we want to disseminate the information as fast as possible. Second, by doing so, the authors can receive comments useful to revise their papers before they are considered for publication in one of ATINER's books, following our standard procedures of a blind review. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Akhmaeva, E., (2014) "The Transformation of the Ancient Worldview in the Consciousness of a Medieval Man”, Athens: ATINER'S Conference Paper Series, No: PHI2014-1266. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved.
    [Show full text]
  • JRAT 005 01 008 Van Der Zweerde.Indd
    Interdisciplinary Journal for Religion and Transformation in Contemporary Society 5 (2019) 136–164 brill.com/jrat Between Mysticism and Politics: The Continuity in and Basic Pattern of Vladimir Solov’ëv’s Thought Evert van der Zweerde Faculty of Philosophy, Theology and Religious Studies, Radboud University Erasmusplein 1, 6525 HT Nijmegen, Netherlands [email protected] Abstract Vladimir Solov’ëv, informal “founder” of the current of Russian religious philosophy which gained some prominence in the early 20th C with thinkers like N. Berdyaev, S. Frank and S. Bulgakov, based his social and political philosophy as well as his pro- gram of “Christian politics” (an attempt to bring the world as close to the Kingdom of God as possible, while steering clear from any idea of “building” God’s Kingdom on Earth) on a series of personal mystical encounters with Sophia, understood by him as, simultaneously, Eternal Femininity, Divine Wisdom and World Soul. The paper argues that this vision remained the foundation of his entire world- view, despite the fact that he initially articulated a more “utopian” vision of a world- encompassing “free theoc- racy,” while later in his career he elaborated, in Opravdanie dobra [The Justification of the (Moral) Good], a more realistic, but still “ideal-theoretical” vision of a just Christian state. Highlighting the tension between Solov’ëv’s advocacy of a free and plural sphere of public debate and his own “prophetic” position based on privileged access to divine wisdom, the paper ends with a discussion of the intrinsic and unsolvable tension be- tween religion and politics, and with the claim that there is a fundamental opposition between holistic mystical visions and a recognition of the political, understood as the ubiquitous possibility of both conflict and concord among humans.
    [Show full text]
  • Oliver Smith Studies in Russian and Slavic Literatures, Cultures and History
    Oliver Smith Studies in Russian and Slavic Literatures, Cultures and History Series Editor: Lazar Fleishman (Stanford Universtity) Oliver Smith Boston 2011 Library of Congress Cataloging-in-Publication Data Smith, Oliver, Ph. D. Vladimir Soloviev and the spiritualization of matter / Oliver Smith. p. cm. -- (Studies in Russian and Slavic literatures, cultures, and history) Includes bibliographical references (p. ) and index. ISBN 978-1-936235-17-9 (hardback) 1. Solovyov, Vladimir Sergeyevich, 1853-1900. 2. Matter. 3. Spirit. I. Title. B4268.M35S65 2010 197--dc22 2010047543 Copyright © 2011 Academic Studies Press All rights reserved ISBN 978-1-936235-17-9 Book design by Ivan Grave On the cover: Th e Portrait of Vladimir Soliviev, by Ivan Kramskoy (a fragment). 1885 Published by Academic Studies Press in 2011 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open.
    [Show full text]
  • Alexei Lalo University of Texas
    TranscUlturAl vol. 1, (4) 2011, 8-30. http://ejournals.library.ualberta.ca/index.php/TC Carnality and Eroticism in the History of Russian Literature: Toward a Genealogy of a Discourse of Silence Alexei Lalo University of Texas The main argument of this essay is built around the observation that Russian literary culture is short of the necessary discursive resources for discussing sexualities and eroticism. It is possible to claim that sexual behavior is presented in dominant literary and social discourses most often as a pathology or aberration that can only be burlesqued or represented as grotesqueries, often of a brutal and repulsive nature. To explore these representations, I will attempt in this essay to outline a genealogy of what I have termed a discourse, or a figure, of silence as it evolved throughout Russia’s cultural and intellectual history.1 For everyday life situations in Russian-language cultures, this utter inability to articulate themes of eroticism and sexuality in a meaningful way might be responsible for a number of cultural predicaments and idiosyncrasies. One such idiosyncrasy is that the cultural weight of literature remains very high in Russian culture,2 and thus one should not underestimate its role in shaping the outlooks of the people who are sexually active now, including the ways they think and talk about sex. When appropriate discourses are missing from that literature, in consequence, the public sphere will itself be shaped in particular ways to compensate for it. The main study question for a comparative philologist and/or a sociologist of literature interested in the Russian tradition is this: why does this particular discourse of silence 1 It is not one of my goals in this essay to account for the historical complexity of such geographical, cultural and historical formations as “Rus,” “Kyivan Rus,” “Russia,” etc.
    [Show full text]
  • Intellectualism Versus Voluntarism, and the Development of Natural Law from Zeno to Grotius
    Intellectualism versus Voluntarism, and the Development of Natural Law from Zeno to Grotius. by Anna Taitslin Submitted in fulfillment of the requirements for the Degree of Doctor of Philosophy University of Tasmania October 2004 Statement by the Author The thesis contains no material that has been accepted for a degree or diploma by the University of Tasmania or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of the candidates knowledge and belief no material previously published or written by another person except where due acknowledgment is made in the text of the thesis. Anna Taitslin ii Authority of Access This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Abstract This study is concerned with the dialectic of the development of natural law theory from the third century B.C. to the beginning of the seventeenth century. Our thesis will be that this dialectic was driven by the tension between two alternative understandings of natural law: one, rooted in Stoicism, being an intellectualistic interpretation of law as human reason; and the other, rooted in the Old Testament, being a voluntaristic interpretation of law as God’s command. The Stoic exposition of natural law was marked by a change undergone between the early Stoics and the late Roman Stoics - from a repudiation of common moral norms to an embrace of them, as a result of the dialectic of development of the key Stoic notion of ‘living according to nature’ from the early Stoics’ ‘right reason of the sage’ to Cicero’s ‘dictate of common reason’ and Seneca’s common moral precepts.
    [Show full text]
  • E Meaning of Idealism E Metaphysics of Genus and Countenance PAVEL FLORENSKY Translated by Boris Jakim
    “Informative, thought-provok- ing, witty, and irresistibly readable” — STEPHEN M. BARR e Meaning of Idealism e Metaphysics of Genus and Countenance PAVEL FLORENSKY Translated by Boris Jakim AVEL FLORENSKY’S TREATMENT OF PLATONISM IN THE present work is one of the most important studies on this subject ever written. e great scholar of antiquity, Aleksei Losev, called e Meaning Pof Idealism the most profound work on Platonism and Idealism produced in the th century. It is a journey: from Plato and Aristotle to Neoplatonism, from Neoplatonism to Medieval theories of being and knowing, from these theories to Orthodox spirituality, from Orthodox spirituality to Vedic mysticism, from Vedic mysticism to astrology, from astrology to modern science—including relativity, the mathematical theory of invariants, and the multidimensional universe. In the course of this journey Florensky corroborates his theories with etymological discussions and analyses of modern art, including the works of Rodin and Picasso. • ---- () . ---- ( ) . Arguably the greatest Russian theologian of the early th century, (–) also did original work in such elds as liturgical aesthetics, iconographic theory, the philosophy of names, theoretical mathematics, and even electrical engineering. He became a Russian Orthodox priest in , while remaining deeply involved with the cultural, artistic, and scienti c developments of his time. Arrested by the Soviets in , he returned to his scholarly activities until , when he was sentenced to ten years of labor in Siberia. ere he continued his scienti c work and ministered to his fellow prisoners until his death four years later. www.angelicopress.com [email protected] www.angelicopress.com [email protected].
    [Show full text]
  • A Confession of Miraculous Mythological Epistemology for Health Communication
    A Confession of Miraculous Mythological Epistemology for Health Communication A dissertation presented to the faculty of the Graduate College of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy John Ryan Stonestreet December 2014 © 2014 John Ryan Stonestreet. All Rights Reserved. 2 This dissertation titled A Confession of Miraculous Mythological Epistemology for Health Communication by JOHN RYAN STONESTREET has been approved for the School of Interdisciplinary Arts, the School of Communication Studies, and the Graduate College by Vladimir L. Marchenkov Associate Professor of Interdisciplinary Arts Joseph Shields Dean, Graduate College 3 ABSTRACT STONESTREET, JOHN RYAN, Ph.D., December 2014, Individual Interdisciplinary Program, Interdisciplinary Arts and Health Communication A Confession of Miraculous Mythological Epistemology for Health Communication Director of Dissertation: Vladimir L. Marchenkov This dissertation examines health communication surrounding patient and family hopes for miraculous divine intervention in response to physician predictions of medical futility. The study presents an auto-ethnographic account of the author’s personal experience of this clinical context as a hospital chaplain. The context is then reframed from a particular chaplain’s experience to an examination of similar contexts surfacing in the prognosis-related communication between physicians, patients, and families, as revealed in the literature. The combination of first-person experience and third-person analysis of the same problem takes seriously the rationality of both immediately given reality and the work of thinking. At stake in any serious consideration of what all may be at play in this context are significant issues outside of the health communication domain, such as religion, myth, and epistemology.
    [Show full text]