Wszystkie pola: individual being - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Człowiek jako dynamiczna jednostka duchowo-cielesna w nauczaniu św. Maksyma Wyznawcy
A human being as a dynamic spiritual and bodily individual in the teaching of st. Maximus the Confessor
Autorzy:: Kashchuk, Oleksandr
Powiązania:: https://bibliotekanauki.pl/articles/612801.pdf
Data publikacji:: 2015
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:: Św. Maksym Wyznawca
człowiek
dynamizm
ruch
Bóg
dusza
umysł
rozum
duch
ciało
przebóstwienie
antropologia
namiętność
St. Maximus the Confessor
human being
dynamism
movement
God
soul
mind
reason
spirit
body
deification
anthropology
passion
Opis:: In St. Maximus the Confessor’s teaching human nature consists of the soul and the body, in which logos of power that unifies them together is inscribed. Human nature manifests itself in the individual human being. The human being as the body and the soul naturally longs for God. This longing is fulfilled by the movement, which is connected to dynamism of the entire human structure. The dynamism is inscribed in the mind, reason, spirit, will, sense, passionate powers and body. The dynamic aspiration for God does not imply getting rid of any of the human elements, even passionate and bodily, but on the contrary, it demands appreciation and proper use of all the natural powers of the human being. Maximus the Confessor treats the human being as a whole. The human is not only mind, reason and spirit, but also will, sense, passionate powers and body. The dynamism of mental and spiritual sphere should be extended in the senses, passionate powers and body, so that the body also becomes the source of virtues, and is deified together with the soul through unity with the Absolute. This unity as the goal of human longing will never be static, but dynamic, because the fulfillment of this longing is the state with eternal movement. So human being will constantly strive for even more perfect unity with God. Through this unity the human being becomes more human. The originality of the Author consists in the fact that using the anthropological views of the earlier tradition and interpreting them mystically and symbolically, he intertwined the entire dynamism of human being with the structure of the Platonic world. The human being through the longing for God and through the proper use of natural powers mystically unites with God not only himself/herself, but also the entire universe, because the structure of the human being is analogous to the structure of the universe.
Źródło:: Vox Patrum; 2015, 64; 205-230
0860-9411
2719-3586
Pojawia się w:: Vox Patrum
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Cartesian challenge of the metaphysical understanding of the human being as a person in light of P.F. Strawson’s Individuals
Kartezjańskie wyzwanie metafizycznego ujęcia człowieka jako osoby w świetle "Individuals" P.F. Strawsona
Autorzy:: Pasterczyk, Piotr
Powiązania:: https://bibliotekanauki.pl/articles/2095844.pdf
Data publikacji:: 2019
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:: person
individual
body
self
solipsism
osoba
indywiduum
ciało
jaźń
solipsyzm
Opis:: The article discusses two questions of Peter F. Strawson’s understanding of the human being as person. The first question scrutinizes Strawson’s philosophical choice between the tradition of Aristotle’s metaphysics and Kant’s ontology. The second question is the Cartesian challenge as presented in Strawson’s postulate of the primacy of the concept of human person. My understanding of the metaphysics proposed in the Individuals and Strawson’s other works underscores a particular affinity between his anthropological postulate and philosophia perennis. However, the Oxford philosopher is related not only to Aristotelian logic and hermeneutic but also to Kant’s conceptual scheme. In the case of the definition that identifies human being as a person we see the unambiguous reliance by Strawson on the thought of Aristotle. The explicit evidence of this reliance is his reference to the corporeality and space-time character of the human beings, manifested by the recognition of ontological priority of particulars before the reality of mental states of affairs. The effect of this analysis is my observation that Strawson has undertaken to close the gap between mental and material reality that was established in Descartes’ ontological difference between res cogitans and res extensa. The aporia of the lack of communication between human consciousness and human corporeality finds its solution in Strawson’s Individuals in concept of relationship between mind and body intended as a transgression over the Cartesian concept. Strawson proposes a recognition of their simultaneous validity, but he does not propose a new ontological position comparable to H.E. Hengstenberg’s, founded on the idea of the constitution of the human person not in two preclusive elements, as the Cartesian mind and body, but in three elements, namely spirit (Geist), corporeality (Leib) and existential principle (Existenzprinzip).
Źródło:: Przegląd Filozoficzny. Nowa Seria; 2019, 4; 317-330
1230-1493
Pojawia się w:: Przegląd Filozoficzny. Nowa Seria
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: The representation of human corporeality in Peter Cavallinis paintings. The synthesis of Roman classicism and Byzantine tradition in depicting a human being
Wyobrażenie ludzkiej cielesności w malarstwie Piotra Cavalliniego. Synteza rzymskiego klasycyzmu i bizantyńskiej tradycji obrazowania ludzkiej tożsamości
Autorzy:: Mazurczak, Urszula Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/1890607.pdf
Data publikacji:: 2013
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: maniera Greca
starożytne rzeźby
ciało
ludzka cielesność
indywidualny
maniera greca
ancient sculptures
body
human corporeality
individual
Opis:: Mistrz Piotr Cavallini (1240/50-1330), rzymianin z urodzenia, wychowania i artystycznej sławy, pracował w swoim mieście rodzinnym oraz w innych centrach kształtujących modele artystyczne początku XIV wieku, np. na dworze Karola II Andegaweńskiego w Neapolu. Pontyfikat papieża Bonifacego VIII i przygotowania Rzymu na Rok Jubileuszowy 1300 stały u się szczególnie istotnym impulsem odnowienia i odrodzenia sztuki w Świętym Mieście. Dzieła Piotra Cavalliniego w Rzymie syntetyzują cechy określane w historii malarstwa jako rzymski klasycyzm inspirowany głównie tradycją rzeźby i reliefu starożytnego Rzymu. Jednak Lorenzo Ghiberti wywyższył malarstwo Piotra pośród ówczesnych malarzy określając je jako maniera greca. Zatem można je porównywać z zachowanymi w tradycji rzymskiej ikonami. Maniera classica i maniera greca stanowią dwa odmienne nurty w formowaniu i ukazywaniu ludzkiej cielesności. Piotr Cavallini nawiązywał do jednej i drugiej tradycji nie kopiując ani jednej ani drugiej. Dostrzegalne są w jego malarstwie dążenia do tego, aby powiększyć przestrzeń i miejsce zdarzeń, aby stworzyć iluzję swobodnego poruszania się postaci w ukazanych zdarzeniach. Wizualizacja materialnej cielesności w naturalnym, materialnym otoczeniu architektonicznego wnętrza lub przestrzeni otwartej jest dowodem pogodzenia przez malarza tradycji łacińskiej, rzymskiej z grecką, bizantyńską. Artysta na modelach bizantynizujących twarzy wypracował iluzje nowej cielesności nasączonej emocjami, indywidualnymi oznakami fizjonomii, cechami wieku temperamentu, zaznaczając wewnętrzne, psychiczne cechy indywidualne ukazywanych postaci. Badacze malarstwa Cavalliniego wskazują na proto-renesansowe cechy, co potwierdza styl malowanej cielesności zarówno w jej materialnym odwzorowaniu, jak i w duchowych oraz psychicznych implikacjach widocznych w malarstwie freskowym, mozaikach i tablicach.
Peter Cavallini’s painting has been thoroughly studied by distinguished Italian researchers and many world experts on Italian painting. Analyses of this great artist’s style have been conducted in the context of maniera greca, which is obvious taking into consideration time and place of the development of Peter’s painting skills. Almost the same reason, that is the place of birth and the first years of education connected with Rome, became a proof for those researchers who perceived Cavallini’s creative activity as one of the earliest developed ways of the return of Proto-Renaissance to ancient traditions. It is also confirmed by the fact of Cavallini’s cooperation with a sculptor Arnolfo di Cambio and, which has been confirmed as well, by parallel to Giotto’s endeavours to create his figures as sensual, full of internal life people or groups of people arranging authentic events. All the previous research is extremely important in order to ask a question concerning the way of elaboration of a body and human corporeality by Cavallini what makes that his figures are internally filled with life and reveal their emotional and spiritual expression. Cavallini did not imitate the anatomical ideal of a body but he did not copy Byzantine figures, either. His efforts to paint the body and corporeality in its complexity of external connotations as well as internal psychological conditioning, often adequate to a situation, constitute a new pursuit which is a result of a new spirit of an epoch around the year 1300, the time when Cavallini lived, worked and achieved the graetest painting successes. In this approach towards a figure as an individually elaborated corporeality differences between Giotto and Cavallini can be observed in spite of many similar interests like, for example, in drawing three-dimensional spatial illusion, which has meticulously been studied by researchers. Research on the manner of depicting human corporeality in art has basically referred to modern art, however, there are also approaches concerning medieval art (Urszula Mazurczak, Human corporeality in medieval Italian painting, vol. I, Lublin 2012, there extensive discussion of the state of research). Cavallini’s carnality reflects human emotional states which are exposed by means of: eyes, pupils, eyelids, a mouth, lips and, finally, gestures and moulding of the whole body presented in motion. All those factors are matched by clothes whose fabric emphasises the body. In his approach to the matter of the body Cavallini was not a follower of maniera greca, however, he did not stop at ancient sculpture as the external shape of figures. Cavallini ‘fills’ his ancient statues with internal spirit, energy and life.
Źródło:: Roczniki Humanistyczne; 2013, 61, 4; 29-49
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

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