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Ruse, Michael. "Creator God, Evolving World." Theology Today 72, no. 3 (October 2015): 337–38. http://dx.doi.org/10.1177/0040573615592280a.
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A., Xolmurodov. "POETRY – THE MAGICAL WORLD." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 12 (December 1, 2021): 104–7. http://dx.doi.org/10.37547/philological-crjps-02-12-22.
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Why is a poem written? Why does one get spiritual pleasure when one reads a good poem? Because its creator-poet will be able to understand the magic of the word. He achieves this because of his sensitivity to the world around him, his observation, his observation, the sharpness of his memory, and his infinity. He creates all these qualities in himself through the ability to read, study, and master.
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Kaztuganova, A. Zh, A. K. Omarova, and D. F. Karomat. "UNIQUE WORLD OF THE CREATOR." BULLETIN 5, no. 387 (October 15, 2020): 294–300. http://dx.doi.org/10.32014/2020.2518-1467.172.
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The article describes some issues of formation of personal qualities and spheres of activities of N.Tlendiev, that have been determined through ethnicity hearing. The range of issues include the analysis of performing and composing activities, stage behavior, as well as innovative performance style, introduced by the famous kuishi into Kazakh music. On the one hand, the formation of N. Tlendiev as a person was determined by the strength of ethnic ear, and, on the other, by the depth of professional knowledge. It was determined that in all his diverse creative activities, that is, performing, composing, conducting or organizing activity, the gift of ethnic ear and high professional competence played an important role. The rich images reflected in his musical compositions, a wide range of thematic lines, the variety of musical methods and instrumental techniques that have not been studied, will result in new research works in the future. In the future the vital activities of N. Tlendiev should be investigated from a scientific point of view, confirmed by documents and facts, and the particular monographic work should be devoted to them.
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Disalvatore, Nicholas. "Book Review: Creator God, Evolving World." Theological Studies 74, no. 2 (May 2013): 490–92. http://dx.doi.org/10.1177/004056391307400219.
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Jacob, Ashna Mary, and Nirmala Menon. "Packaging Polytheism as Monotheism." Religion and the Arts 24, no. 1-2 (April 22, 2020): 84–109. http://dx.doi.org/10.1163/15685292-02401014.
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Abstract This essay deconstructs the godhead that Tolkien constructs in his mythopoeia. Tolkien’s polychronicon, The Silmarillion, splits the godhead between a creator God and a pantheon of gods and goddesses. Tolkien claims that Ilúvatar is a Yahweh-like God and the primary deity; on the other hand, the Valar, the fourteen gods and goddesses created by this primary God, who assist in creation, shape the world, have power over elements, and reign as ‘mistaken gods’ among the Elves, Dwarves, and Men, are not deities. This split of godhead is ignored, and the mythopoeic deity acclaimed as the biblical God and his angels is upheld as a Christian allegory. The essay negates the Christian parallels associated with Ilúvatar and Valar and establishes that Tolkien packages polytheism as monotheism. Monotheism does not permit secondary god/gods. Polytheism on the other hand often features an abstract creator God who creates a polytheistic pantheon. Tolkien’s model, which features a Creator deity and a pantheon of created deities, falls under the second category. The essay infers that Tolkien’s two-tier godhead firstly invalidates the norm of monotheism, and secondly conforms to creator deity and created deity structure of polytheism.
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Silvia, Hilary, and Nanci Carr. "When Worlds Collide: Protecting Physical World Interests Against Virtual World Malfeasance." Michigan Technology Law Review, no. 26.2 (2020): 279. http://dx.doi.org/10.36645/mtlr.26.2.when.
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If a virtual-world-game character is cast upon real-world property without the consent of the landowner, inducing or encouraging players to trespass, is the virtual-world creator liable for damages? The United States Supreme Court has recognized that digital technology presents novel issues, the resolution of which must anticipate its further rapid development. It is beyond dispute that protective legislation will be unable to keep up with rapidly evolving technology. The burden of anticipating and addressing issues presented by emerging technologies will ultimately fall upon the businesses responsible for generating them. This duty was most notably adopted by the creators of Pokémon Go in settlement of nuisance and trespass claims brought by a nationwide class seeking injunctive relief from the placement of virtual Pokéstops and Pokémon Gyms (“Gyms”) on real property. This article is the first to address this landmark settlement and proposes that future developers and creators seeking to avoid similar liability exposure implement self-regulatory practices, such as Value Sensitive Design, to create human values-based frameworks within which they can create and advance technologies. The societal need and social impact of such self-regulation is clearly illustrated by emerging litigation seeking to hold virtual-world actors responsible for real-world consequences utilizing common law tort theories. In the absence of legislation, as case law develops, self-regulatory frameworks like Value Sensitive Design are essential to create constructs within which creators can develop technologies that consider human values, address civic concerns, and avoid lawsuits, while still achieving commercial and technological objectives.
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Jaśkiewicz, Sylwester. "Koncepcja Boga Stwórcy według św. Augustyna." Studia Teologii Dogmatycznej 7 (2021): 78–91. http://dx.doi.org/10.15290/std.2021.07.06.
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Knowing God, including as Creator (Deus Creator), is one of the priorities of the life and teaching of St. Augustine. For the old Christian thinker, the certainty of the truth about God the Creator, which the Church confesses in her Creed, is based on the authority of the Bible, especially the description of creation contained in it. A characteristic feature of his approach to this truth is its Trinitarian dimension, that is, the attribution of the work of creation to all three divine Persons. Deus Creator is for St. Augustine Deus Trinitas. God created the world according to the unchanging reasons of his eternal presence in his Word and His goodness and love, expressed in the image of God’s Spirit hovering over the waters, are identified with the Holy Spirit. Among the attributes of the Creator, St. Augustine strongly emphasizes his omnipotence.
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ROWE, WILLIAM L. "Response to Hasker." Religious Studies 41, no. 4 (October 31, 2005): 463–66. http://dx.doi.org/10.1017/s0034412505007997.
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The issue between my view and Hasker's concerns a certain principle that he takes to be true, but I hold to be false. The principle in question asserts that failing to do better than one did is a defect only if doing the best one can is possible for one to do. I claim that this principle is false because if an all-knowing, all-powerful being were confronted with an unending series of increasingly better creatable worlds and deliberately chose to create the least good world, that being would thereby show itself to be something less than a supremely perfect world-creator. In fact, I argue that if a supremely perfect world-creator were to exist and create a world, it would have to be a world than which there is no better creatable world.
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JONES, PETER. "TRANSGENDER: TRANS-ITION TO NOWHERE." CURRENT DEBATES IN REFORMED THEOLOGY: PRACTICE 4, no. 2 (October 22, 2018): 27–48. http://dx.doi.org/10.35285/ucc4.2.2018.art2.
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Based on Genesis 1:1, “In the beginning, God created the heavens and the earth” (ESV), the apostle Paul in Romans 1:25 gives an amazingly com- plete definition of the only two ways of existing in the world: “they exchanged the truth about God for a lie and worshiped and served the creature rather than the Creator, who is blessed forever! Amen.” I call these two ways of existing Oneism and Twoism. In Oneism, if you worship creation, you will believe that the world is self-created, self-explanatory, and all made of the same stuff (matter, spirit, or a mixture). Paganism is the worship of nature. If everything shares the same divine substance, then all distinctions are eliminated and everything is god. In Twoism, if you worship God, you will believe that he is the Creator—an external, intelligent, personal God. There are two kinds of existence—the Creator who is uncreated, and everything else, which is created. He has placed distinctions in his creation, making what I call Twoism a worldview based on the binaries of otherness and difference. From living under the cultural canopy of biblical truth, our world has changed in the last one or two generations. This becomes especially evident in the modern views of sexuality—in particular, transsexuality, where human beings now self-define and reject the creational binary of male/female sexuality.
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Macha, Jakub. "Hegel and Wittgenstein." Cuadernos salmantinos de filosofía 49 (November 14, 2022): 89–100. http://dx.doi.org/10.36576/2660-9509.49.89.
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I argue that Hegel and Wittgenstein, each in their own specific way, used the idea of God at the beginning of creation as a complex analogy for other kinds of beginning, most notably the beginning of philosophical thought. Hegel’s Logic describes God’s mind before the creation of the world, i.e. God’s pure thinking. For a philosopher, beginning afresh means resolving to consider this kind of abstraction from the existence of the world. Wittgenstein, by contrast, says that the idea of a creator of the world does not explain anything. It marks the terminus ad quem of asking for explanations; we must not ask further who created the creator of the world. Wittgenstein generalizes this for any kind of reasoning: “Explanations come to an end somewhere.” (PhilosophicalInvestigations: §1) Any sort of explanation must eventually arrive at its terminus ad quem, which means only that any kind of reasoning must have its logical beginning.
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Jackelén, Antje. "Ecumenism for the Sake of the World." Horizons 44, no. 2 (November 7, 2017): 414–19. http://dx.doi.org/10.1017/hor.2017.119.
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“Today's challenges are no longer defined by local or national borders. They are glocal, both global and local. Borders are no longer what they used to be. That should not scare us. Because at the center of Christianity, there is a God crossing the most dramatic border of all: the one between divine and human. Transgression of borders always entails ‘Berührungsangst,’ the anxiety of touching and being touched by what is different, strange, other. As people of faith, we can live with these anxieties, remaining centered in the Gospel of the incarnated Christ and open, very much open, to the world. And so, united in prayer for God's creation and the church of Jesus Christ, we say with confidence: Veni Creator Spiritus, Come Creator Spirit.”
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GROVER, STEPHEN. "This world, ‘Adams worlds’, and the best of all possible worlds." Religious Studies 39, no. 2 (May 13, 2003): 145–63. http://dx.doi.org/10.1017/s0034412502006327.
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‘Adams worlds’ are possible worlds that contain no creature whose life is not worth living or whose life is overall worse than in any other possible world in which it would have existed. Creating an Adams world involves no wrongdoing or unkindness towards creatures on the part of the creator. I argue that the notion of an Adams world is of little value in theodicy. Theists are not only committed to thinking that this world was created without wrongdoing or unkindness but also must rule out the possibility that the world might have been better had God not existed. Nor is there much reason, independent of the availability of a satisfactory theodicy, for believing that the actual world is an Adams world. The need for a theodicy constructed along Leibnizian lines, incorporating the claim that this world is the best possible, is thus reinforced.
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Lamb, Gregory E. "Art as Therapeutic Beauty and a Visible “Sermon” to the World." Journal of Interdisciplinary Studies 34, no. 1 (2022): 97–116. http://dx.doi.org/10.5840/jis2022341/26.
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This essay contends that God created humanity as His co-creators to bring Him glory with one’s entire being, including imagination and creativity. Throughout Scripture, YHWH is depicted as the artistic Creator of all that is beautiful, true, and transcendent. The Bible attests the creation of humanity in the imago Dei--sharing God’s innate creativity--and divine gifting of Spirit-inspired artisans utilizing their talents for God’s glory. Yet, over the centuries, “art” was oft misunderstood and grossly neglected in Christ’s church. Philip Ryken explains how medieval skeptics began removing and destroying art believed to violate the Decalogue. Imbalanced suspicions toward art in Christendom still persist, despite the positive, inspirational effects of icons in Catholic and Orthodox traditions and scientific research that shows the therapeutic value of art across a broad spectrum of mental and physical challenges, including isolation and depression. Makoto Fujimura posits that Christian creatives possess a common faith as “border-walkers,” and can affect phoenix-like positive cultural and ecclesial change by reintroducing beauty as a visible “sermon” into a fragmented, post-pandemic world.
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Trajanov, Kirche. "Creatio Ex Nihilo through the Prism of Father Sergei Bulgakov’s Sophiology." Philotheos 22, no. 1 (2022): 50–62. http://dx.doi.org/10.5840/philotheos20222214.
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Father Sergei Bulgakov (1871–1944), directly influenced by Vladimir Solovyov and especially by Father Pavel Florensky, developed his sophiological concept which takes a central place in his doctrine of Trinity and God's economy. The main failure of the Russian sophiology is that the question of God's Wisdom is not Christologically founded in the spirit of the New Testament and patristic teaching. Bulgakov neglects the theology of God's uncreated energies. He thinks that it does not sufficiently explain the creation of the world as well as the relationship between God and the world. According to him, the creation of the world and its unity with God can be explained only through a mediator who acts as an “ontological bridge” between the Creator and the creation. Bulgakov, using the ontological mediation paradigms that are characteristic for certain ancient philosophical systems, especially Neo-Platonism, develops his doctrine of Sophia. She is immanent to both the nature of God and the creation. This attitude leads Bulgakov to the position of pantheism. In order to avoid this danger, he modifies his teaching introducing two models of Sophia: “Divine Sophia” and “Created Sophia”. Unlike the patristic theology, Bulgakov’s sophiological essentialism does not tend the antinomy of apophatic-kataphatic theology, and thereby he puts into question the ontological difference between the Creator and the creation. It is a failed attempt to interpret the dogma of the creation of the world ex nihilo, through categories and concepts that are alien to the church tradition.
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Haight, Roger. "Spirituality, Evolution, Creator God." Theological Studies 79, no. 2 (May 29, 2018): 251–73. http://dx.doi.org/10.1177/0040563918766717.
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Evolution raises problems for some Christian beliefs, such as the character of God’s creating act, whether God intervenes in nature’s consistency, God’s purpose in the light of nature’s randomness, and whether we can refer to anything specific God does in history. This article addresses these issues first with some abstract conceptions of God, and then with considerations of the nature of God creating, the immanence and transcendence of God, and God’s “action” in the world. It concludes with reflections on the Christian life in the light of this theological construction.
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Polkinghorne, John. "Cynthia Crysdale and Neil Omerod, Creator God, Evolving World." Theology 117, no. 3 (May 2014): 208–9. http://dx.doi.org/10.1177/0040571x14522949.
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Bozorova Po’lotjonovna, Nasiba. "Lyric Hero Spiritual World And Creative Worldwide." Psychology and Education Journal 58, no. 1 (January 1, 2021): 2431–35. http://dx.doi.org/10.17762/pae.v58i1.1118.
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The article emphasizes that in the study of the creative personality and worldview in art, his beliefs, confession of heart, life position, activity, attitude to the artistic word - all should be taken into account and studied on this basis. It is also possible to solve this problem by studying the poetics of the hero created by the creator. In prose, the image and interpretation of the protagonist plays a key role in the assessment of the author's personality, and in poetry the scientific interpretation of Alisher Navoi's lyrical hero.
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Ayut Nursusanti, Jessica Andriany, Resa Agustina, Arita Wahyuni, Hestia Alika K, and Selvi Oktavia. "Philosophy of Materialism and Philosophy of Naturalism." Jurnal Ilmiah Pendidikan Holistik (JIPH) 1, no. 3 (December 27, 2022): 203–16. http://dx.doi.org/10.55927/jiph.v1i3.1982.
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This article looks at the historical materialism approach of Karl Max and naturalism according to J.J Rousseau. Materialism is an understanding that only relies on material that does not believe in what is behind the unseen world. Not believing in the unseen world means not believing in the existence of a power that controls the universe and that automatically denies the existence of God as the creator of the universe, because according to this understanding nature and everything in it originate from one source, namely matter. Marx believed that human intellectual development was determined by the material conditions of human life. That is, material needs precede consciousness. This theory is often called historical materialism. Naturalism is a school that believes in nature and also milieu (environment). The flow of naturalism views that the child created by the creator is good while the environment is bad. Naturalism is a school that believes in nature and also milieu (environment). The flow of naturalism views that the child created by the creator is good while the environment is bad.
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Tomažin, Irena. "The Attentive Creator of Contemporary Rituals." Maska 31, no. 177 (June 1, 2016): 126–28. http://dx.doi.org/10.1386/maska.31.177-178.126_1.
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In her book Conversations with Meredith Monk, Bonnie Marranca publishes four conversations that occurred between 2008 and 2013, that is, in Monk’s mature period of creation, hence affording the artist occasion to reflect on her past work. Among other things, she affirms that her relationship to her work is informed by her practice of Buddhism. She refers to directorial method of “weaving” together the different media she uses when constructing her stage works, allowing her to connect the different worlds contained within different media and in so doing experience herself as an integrated being. She describes the creation of a work as the search for something fundamental, understanding each work as its own world, which she listens to and whose laws she searches for in an uninterrupted dialogue with the work as the subject. For her, the stage is a holy space, a space for ritual between performers and audience, in which an important role is played by shared time, unrepeatable and transient. The conversations with Monk reveal how her creative process heeds the internal desires of the creation and simultaneously ignores the instructions of established aesthetic guidelines.
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Michael, George. "RAHOWA! A History of the World Church of the Creator." Terrorism and Political Violence 18, no. 4 (December 2006): 561–83. http://dx.doi.org/10.1080/09546550600880633.
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MATSUI, AKIHIKO. "A THEORY OF MAN AS A CREATOR OF THE WORLD." Japanese Economic Review 59, no. 1 (March 2008): 19–32. http://dx.doi.org/10.1111/j.1468-5876.2007.00443.x.
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Wollenberg, Bruce. "Creator God, evolving world; A public God: natural theology reconsidered." Theology and Science 18, no. 1 (January 2, 2020): 164–66. http://dx.doi.org/10.1080/14746700.2019.1710357.
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Williams, David T. "The Spirit in creation." Scottish Journal of Theology 67, no. 1 (January 15, 2014): 1–14. http://dx.doi.org/10.1017/s003693061300029x.
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AbstractThe result of the Arian controversy was the affirmation of the total equality of the trinitarian persons. This led to the realisation that all three persons of the Trinity are involved in every external action of God. Despite this, the role of the Holy Spirit in creation has not been clear, partly due to few specific references in the creation narratives. However, it may be suggested that the Spirit does not act in the creation of matter, which is the role of the second person, but in the provision of the underlying form and order necessary for very existence, and specifically for the dynamic interaction which is of the essence of life, as in the second account of the creation of the man (Gen 2). This reflects the fact that the action of the Spirit is also essential in salvation to link Christ's work on the cross to the believer. While separation is a feature of the Genesis creation narrative, this is balanced by the interrelating of what had been created.So, although Christian theology has commonly seen the world as ‘spirit’-less, restricting the action of the Holy Spirit to the church, this would be understood as referring to the limitation of his direct action. His immanent presence is nevertheless essential in all for very existence. The Spirit is not in the world, but underlies it.Creation may be seen as a theistic act, by transcendent intervention to give matter, and giving interaction in immanent presence. The nature of the world therefore reflects the theistic nature of God, involving both distinction and relating. Indeed it then reflects the trinitarian nature of the creator, in which the persons maintain their absolute distinction at the same time as their total equality through the interaction of perichōrēsis, specifically enabled by the action of the Spirit as generating and undergirding relationship. The parallel between the created and the creator is seen especially insofar as the discrete elements of matter interrelate to give form and interaction.It is in their interaction that the elements of creation fulfil their purpose, and so specifically that humanity reflects its nature as created in imago Dei.
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Greshchuk, Vasyl’. "Slovotvirne hnizdo z vershynoyu Khrystos u movniy kartyni svitu ukrayintsiv." Studia Ucrainica Varsoviensia, no. 8 (August 31, 2020): 11–19. http://dx.doi.org/10.31338/2299-7237suv.8.6.
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The article discusses the example of a word-formative nest with the apex of Christ. It analyses the role of word-formation in the formation of the language picture of the world of Ukrainians. The word-formative nest fi xes the word-forming segment of the semantic space of the Christ concept of the sacred conceptual sphere. Despite the fact that the anthroponomies as vertices of word-formation nests do not exhibit derivational productivity in the Ukrainian language, the word-formation nest with the apex of Christ has a branched structure: in the three stages of derivation, 25 derivatives of diff erent parts of the language, created in diff erent ways, have been certifi ed. This is due to the semantics of the vertex word of the nest, the importance of the concept named by it, in the perception of Ukrainians, in their culture of belief. In the linguistic consciousness of Ukrainians, Christ – Jesus Christ, the Son of God, the God-man, the incarnate God, the Savior, the Teacher, the Creator of the new religion. Such a broad semantic spectrum determines the activation of the derivation possibilities of the base word and the verbalization of word-formative means by a number of conceptual components. An analysis of the word-formative nest with the apex of Christ has shown that the word-formative dimension in the language picture of the world of Ukrainians, along with the universal conceptual components inherent in many diverse Christians, also has a number of individual-language derivational means of categorizing the world.
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Ahmedova, Khilola Shavkatovna. "MASTER SKILLS OF CREA ASTER SKILLS OF CREATING A POR TING A PORTRAIT IN THE NO T IN THE NOVEL OF" VEL OF" EMMA"." Scientific Reports of Bukhara State University 3, no. 2 (February 28, 2019): 144–49. http://dx.doi.org/10.52297/2181-1466/2019/3/2/10.
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The article explores the master ability to depict the spirit of the characters in the novel "Emma" of the talented 19th century writer Jane Austen. Jane Austen left a worthy mark on world literature as a creator who created a unique portrait of the characters in the novel and ensured that her work would face eternity. His work describes Life processes in real life, written in capital letters for real, concrete problems, characters, feelings.
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Kupchyk, Xenia. "Nil Khasevych — creator of UPA combat graphics." Вісник Книжкової палати, no. 11 (March 24, 2022): 42–44. http://dx.doi.org/10.36273/2076-9555.2020.11(292).42-44.
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Ukrainian art of the twentieth century in the world context it is represented by a whole galaxy of diaspora artists. One such figure is Neil Khasevych, a prominent Ukrainian artist, graphic artist, public and politicalfigure, and member of the OUN.
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Milburn, Joe. "Creator Theology and Sterba’s Argument from Evil." Religions 13, no. 11 (November 10, 2022): 1083. http://dx.doi.org/10.3390/rel13111083.
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In this paper, I reformulate Sterba’s argument from evil and consider the various ways theists might respond to it. There are two basic families of responses. On the one hand, theists can deny that God, as a perfect being, needs to act in accordance with Sterba’s moral evil prevention requirements (MEPRs). We can call these responses exceptionalist responses. On the other hand, the theist can deny that God’s acting in accordance with the MEPRs would imply an absence of significant and especially horrendous evil consequences of immoral actions in the world. We can call these responses compatibilist responses. I argue that the availability of both sorts of responses shows that Sterba’s argument should not be taken as a logical argument from evil. A good God is logically possible. However, this does not show that Sterba’s argument fails as an evidential argument from evil. In the second section, I argue that if we work within the framework of what Jonathan Kvanvig calls Creator Theology (CT), the force of Sterba’s argument as an evidential argument is greatly weakened.
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GELLMAN, JEROME. "Prospects for a sound stage 3 of cosmological arguments." Religious Studies 36, no. 2 (June 2000): 195–201. http://dx.doi.org/10.1017/s0034412500005187.
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Recently, Religious Studies published an article by Richard Gale and Alexander Pruss, arguing that there exists a necessary being who is a creator of the world. Building on their argument, I argue that, assuming that there is exactly one creator, that creator is essentially omnipotent.
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Kerimov, Khafiz, and Tapdyg Kerimov. "Nancy, Descartes, and Continuous Creation." KronoScope 19, no. 1 (April 10, 2019): 7–24. http://dx.doi.org/10.1163/15685241-12341427.
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AbstractThe present article investigates the role of Descartes’ doctrine of continuous creation in Jean-Luc Nancy’s philosophy. While it is not customary to take Descartes as a thinker of plurality, his doctrine of continuous creation affords Nancy the philosophical resources for thinking the plurality of worlds. In the first section of the article, we present Descartes’ argument for continuous creation, in accordance with which creation occurs not just once but is repeated at each instant. Yet, in Descartes, this doctrine remains wedded to a concept of an immutable creator. In the second section of the article, we present the stakes of Nancy’s deconstruction of creation ex nihilo, which results in the suspension of God as an immutable ground. For Nancy, creation of the world happens at each moment of the world but without a pre-determined end or plan.
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Cardinal, Roger. "Outsider Art and the autistic creator." Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1522 (May 27, 2009): 1459–66. http://dx.doi.org/10.1098/rstb.2008.0325.
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Outsider Art ( art brut ) is defined as a mode of original artistic expression which thrives on its independence, shunning the public sphere and the art market. Such art can be highly idiosyncratic and secretive, and reflects the individual creator's attempt to construct a coherent, albeit strange, private world. Certain practitioners of what may be termed autistic art are examined in the light of this definition; their work is considered as evidence not of a medical condition but of an expressive intentionality entirely worthy of the interest of those drawn to the aesthetic experience.
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Jeler, Ioana. "Pax Magna Sau Despre Simpatia Demon-Creator." Lucian Blaga Yearbook 20, no. 2 (December 1, 2019): 11–16. http://dx.doi.org/10.2478/clb-2019-0021.
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AbstractOne of the most representative theme in the works of Lucian Blaga is knowledge and the way it is reflected in the unconscious. He is known for the different meanings given to this knowledge, proposing a new path for the understanding of everything around us, starting from the inner of human soul to the world genesis. This paper will show this specific process of Blaga, in one poem „Pax Magna”.
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Omodeo, Pietro Daniel. "A Cosmos Without a Creator." Journal of Early Modern Studies 8, no. 2 (2019): 9–42. http://dx.doi.org/10.5840/jems20198211.
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In the years after the first circulation of Sidereus Nuncius, Galileo’s Padua anti-Copernican colleague, the staunch Aristotelian philosopher, Cesare Cremonini, published a book on ‘traditional’ cosmology, Disputatio de coelo in tres partes divisa (Venice, 1613) which puzzled the Roman authorities of the Inquisition and the Index much more than any works on celestial novelties and ‘neo-Pythagorean’ astronomy. Cremonini’s disputation on the heavens has the form of an over-intricate comment of Aristotle’s conceptions, in the typically argumentative style of Scholasticism. Nonetheless, it immediately raised the concern of Cardinal Bellarmin, the Pope and other Inquisitors. At a close reading, Cremonini’s interpretation of Aristotle’s cosmos proved radically anti- Christian. It represented a radicalization of Pomponazzian Alexandrism. In fact, Cremonini did not only circulate Aristotelian principles used by Pomponazzi to argue for the soul’s mortality (first, no thought is possible without imagination and the latter faculty is dependent on the body; secondly, all that is generated will eventually perish). He also wiped away all transcendence from the Aristotelian cosmos. In fact, he marginalized the function of the motive Intelligences by explaining heavenly motions through the action of animal-like inseparable souls although he did not erase nor reduced all Intelligences to only one, in accordance with Alexander. Also, he put at the center of Aristotle’s cosmos the idea of its eternity, a thesis which he explicitly connected with the rejection of the idea of God the Creator. Cremonini assumed that the universal efficiens, that is the efficient cause of all motion and change in the world, is nothing but the first heaven. As a result of this radically naturalist reading of Aristotle, he banned God from the cosmos, reduced Him to the final cause of the world, and deprived Him of any efficiency and will. This essay on less explored sources of Renaissance astronomical debates considers the institutional, cultural and religious setting of Cremonini’s teaching and conceptions. It assesses the reasons for his troubles with the religious authorities, and the political support he was granted by the Serenissima Republic of Venice inspite of the scandalous opinions he circulated as a university professor. My reconstruction of his views is based on the Disputatio de coelo of 1613 and later works, which are directly connected with cosmo-theological polemics with the religious authorities: his Apologia dictorum Aristotelis de quinta coeli substantia (1616) and the unpublished book De coeli efficientia, two manuscript copies of which are preserved in the libraries of Padua and Venice.
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Et al., Jurayeva Sohibjamol Norkobilovna. "CULTURAL AND HISTORICAL PREREQUISITES FOR THE DEVELOPMENT OF THE INNOVATIVE POTENTIAL OF THE SUBJECT OF CREATIVITY." Psychology and Education Journal 58, no. 1 (January 15, 2021): 2870–73. http://dx.doi.org/10.17762/pae.v58i1.1179.
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This article details in detail the creativity of the creator in the world and through the history and culture of the world, the essence of which is the method of existence of the creator in the world, its innovative potential, and the ideas of thinkers as cultural and historical sources for the innovative development of the subject of creativity. It is justified that pedagogical and psychological sciences play an important role in the development of the creative potential of the subject of creativity.
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Królikowski, Janusz. "Przemiany symboliczno-teologicznego znaczenia materii i ich odzwierciedlanie się w estetyce i sztuce chrześcijańskiej." Sacrum et Decorum 13 (2020): 7–27. http://dx.doi.org/10.15584/setde.2020.13.2.
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Almost from its very beginning, the faith of the Church incorporated art in its various forms of expression into the process of interpreting its doctrine. Quite quickly the Church included in this process the dogma of creation, i.e. the calling of the world into existence by God. At first, in polemic against ancient Manichaean tendencies, this dogma contributed to a positive view of matter, and thus to the possibility of using it in the realm of religion: since it comes from God, it cannot be an obstacle to worshipping him. Over time, the theme of creation itself was also incorporated into art, above all because it shaped Christian aesthetics, which always in some way reflected the essential elements of the Christian vision of the world and matter: radiance, proportion, harmony. Scholastic theologians in the Middle Ages drew attention to the fact that aesthetics, referring to the creative work of God, can play a supportive role in man’s return to God, thanks to the fact that it lifts his spirit towards the Creator. In the Middle Ages the motif of God the Creator, especially as the Creator of all things, also appeared in art. Under the influence of Enlightenment and positivist tendencies, matter lost its symbolic and theological bearing, becoming only a material made available to man, and thus the motif of creation disappeared from art. This means that there is a need to search for the possibility of including the truth about creation in art.
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Zaslavskii, O. B. "CHAOS WITHOUT COSMOS (ON THE POEM BY O. E. MANDELSTAM “TELL ME, DESERT DRAFTSMAN…”)." Culture and Text, no. 45 (2021): 104–12. http://dx.doi.org/10.37386/2305-4077-2021-2-104-112.
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In the article there is carried out a structural-semantic analysis of Mandelstam’s poem “Tell me, Desert Draftsman…”. Interpretation of a number of mysterious fragments is suggested. In particular, this concerns “Judaic troubles”. We argue that in this context they are connected with the motif of scattering because of the wind activity. We also find interlingual interference between Russian and French. Its meaning is related to the motifs of mutual metamorphosis and inseparability of entities typical of primary chaos. The key feature of the world embodied in the poem consists in the impossibility of unambiguous separation to opposite entities such as creator and destroyer, creation and annihilation, linear and cyclic processes, etc. In this case, no cosmos creates from chaos, the world remains “not embodied”.
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Napora, Krzysztof. "„Aby służył i strzegł” (Rdz 2,15). Praca jako powołanie człowieka w świetle Rdz 1–2." Verbum Vitae 25 (June 1, 2014): 17–39. http://dx.doi.org/10.31743/vv.1566.
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Human work is commonly considered to be a painful consequence of the first couple disobedience in the garden of Eden. In our short essay we are trying analyze the issue of human work as it is described in the creation narratives in Gen. 1-2. The starting point for this analysis is God’s work of creation. It designates the point of reference for every human activity. In various pictures these introductory chapters of Genesis express the idea that human being is created and called to cooperate with God-Creator in God’s work of creation. Human efforts to dominate and to subdue the earth should aim at unceasing actualization of God’s plan of salvation for the world.
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Pullen, John M. "Malthus, Jesus, and Darwin." Religious Studies 23, no. 2 (June 1987): 233–46. http://dx.doi.org/10.1017/s0034412500018746.
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Malthus' theological ideas were most clearly presented in the final two chapters of the first edition (1798) of his Essay on the Principle of Population. They can be classified under eight main headings. (i) He admitted that the pressure of population causes much misery and evil, but he did not accept that this in any way impugned the benevolence of the Creator. He situated the population problem within the general context of the problem of evil, and argued that population pressure is permitted and ordained by the Creator as a means of stimulating mankind to attain a higher good. (ii) He opposed the traditional Christian notion that this world is a state of trial, with population pressure being one aspect of that trial. He believed that this notion of a state of trial is inconsistent with the notion of an omniscient Creator, and that it is therefore necessary to reject the notion of a state of trial in order to save the notion of Divine omniscience. (iii) Instead of viewing this world as a state of trial, he viewed it ‘as the mighty process of God, not for the trial, but for the creation and formation of mindr. This notion of the growth of mind is the central aspect of Malthus' theology. (iv) He expressed doubts about the omnipotence of the Creator, arguing that God did not have the power to create perfect human beings instantaneously, but required a certain process or a certain time to form beings with ‘exalted qualities of mind’. Malthus seemed to argue that Divine omnipotence and Divine benevolence are incompatible – because a truly benevolent creator would not have subjected mankind to the miseries of this world if He had the power to create a perfect world. Malthus was prepared to sacrifice the notion of Divine omnipotence in order to save the notion of Divine benevolence. (v) He saw the principle of population as part of the Divine plan for the replenishment of the earth, i.e. its full cultivation and peopling. (vi) His attitude to worldly pleasures and comforts was distinctly unpuritanical, and leaning towards hedonism. His ethics were world-enhancing, rather than world-denying and retreatist. (This point is discussed more fully in Part II below.) (vii) He gave a naturalistic interpretation of the Biblical doctrine of original sin, describing original sin as the original state of torpor and sluggishness of every human being at the moment of birth. The purpose of the principle of population, and of the other difficulties encountered in life, is to stimulate man to raise himself out of this original state. (viii) Finally, Malthus' theology included the doctrine of annihilationism (or conditional immortality), according to which eternal life is not an essential part of the human soul at birth, but is granted only to those who attain during life on earth an adequate growth of mind. The others are, at death, not condemned to eternal suffering, but are annihilated, body and soul.
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भण्डारी Bhandari, इन्द्रबहादुर Indrabahadur. "कविता समीक्षाको शैलीवैज्ञानिक आधार {Stylistic Features of Poetry Analysis}." Academia Research Journal 1, no. 1 (November 8, 2022): 108–13. http://dx.doi.org/10.3126/academia.v1i1.49208.
Full textAbstract:
कविता विधा रचनाका दृष्टिले सर्वसुलभ, छिटोछरितो र सर्जकको आफनो रुची र खुबीअनुसारको लोकप्रिय विधा हो। यस विधामा सर्जकले आफनो रुची र खुबीअनुसार सानोभन्दा सानो रचना पनि सिर्जना गर्न सक्छ भने वृहत्तम विशालकायकृतिको पनि रचना गर्न सक्छ । यसका लागि सर्जकमा प्रतिभा, व्युपत्ति र अभ्यासको आवश्यकता पर्छ । काव्य रचना गर्दा सर्जकमा काव्यको सैद्धान्तिक स्वरुप प्रति सचेत हुनु आवश्यक हुन्छ । सिर्जनामा सर्जकले नवीनताको खोजी गर्न लेखकलेजीवनजगतका अतिरिक्त पूर्व सिर्जना भएका कृतिको व्यापक अध्ययनलाई जोड दिनु पर्छ । परिपक्व सर्जकबाट मात्र उत्कृष्ट र मूल्यवान कृतिको सिर्जना हुने गर्छ र त्यस्ता कृतिको समालोचना गर्न समालोचकहरु लालायित हुने गर्छन । मूल्यवान कृतिको समालोचनाबाट पाठकले त्यसको गुणतत्वलाई आफनो जीवनशैलीसँग जोडने गर्छन । कृति समालोचना गर्ने विभिन्नमान्यताहरुमध्ये शैलीविज्ञान आधुनिक भाषाशास्त्रीय मान्यता हो । शैलीविज्ञान कृतिकेन्द्रित भएर समालोचना गर्ने पद्धति हो । यसले कृति भित्रका विशेषताहरूलाई केलाउने कार्य गर्छ । शैलीविज्ञानले साहित्यिक कृतिको संरचना, बनोट र बुनोट आदिलाई खोतल्छ । सैद्धान्तिक विश्लेषणद्वारा त्यसमा अन्तरनिहित कला सौन्दर्य र साहित्यिकताको उदघाटन गर्दछ ।शैलीवैज्ञानिक आधारमा कृति लेखन गर्नका लागि भाषाविज्ञानका क्षेत्रमा पाइने विभिन्न प्रविधिको प्रयोग गरिन्छ । कृतिकोशैलीवैज्ञानिक अध्ययन विश्लेषणका क्रममा त्यस कृतिको विधागत प्रकृति, विश्लेषणको क्षमता, ज्ञान र त्यसको अध्ययनमहत्वपूर्ण हुन्छ । शैलीविज्ञानमा विकल्प चयन, अग्रभूमि निर्माण, विचलन, समानान्तरता र शैली चिन्हको आदिका आधारमाकृतिको विश्लेषण गरिन्छ ।
{
In terms of composition, poetry is the most accessible, fast and popular science according to the creator's taste and talent. In this genre, the creator can create even the smallest works according to his taste and talent, and he can also create the largest giant works. For this, the creator needs talent, pedigree and practice. While composing a poem, it is necessary for the creator to be aware of the theoretical nature of the poem. In order for the creator to search for innovation in creation, the writer should emphasize a comprehensive study of previously created works in addition to the life world. Excellent and valuable works are created only by mature creators and critics are reluctant to criticize such works. By criticizing a valuable work, the reader connects its quality with his lifestyle. Stylistics ia modern linguistic theory among the various theories of criticizing a work. Stylistics is a workcenteredmethodofcriticism.Itservestohighlightthefeatureswithinthework.Stylologyexaminesthestructure,toneandtextureofa literarywork.Duringtheanalysisofsomestylisticstudies,theliterarynatureofthatwork,theabilityofanalysis,knowledgeanditsstudyareimportant.Instylistics,theworkisanalyzedon thebasisofselectionofoptions,foregrounding,deviation,parallelismand stylistic markers etc.}
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Kelman, Mykhailo, and Tatiana Syvulia. "Theoretical complexity and practical significance of the manifestations of the interaction of religion and law." Scientific and informational bulletin of Ivano-Frankivsk University of Law named after King Danylo Halytskyi, no. 14(26) (December 12, 2022): 29–38. http://dx.doi.org/10.33098/2078-6670.2022.14.26.29-38.
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Purpose. This was briefly discussed in the first chapter, so there is a need to dwell in more detail on the social phenomena of religion and law, which have similar features, although they are different regulators of human coexistence, have obvious specifics and may differ significantly from each other. Method. Includes a comprehensive analysis of scientific and theoretical material, practical experience, as required by the level of methodology and techniques of research. Results. Research has shown that spirituality is often confused with ethical positive qualities and emotional tension. The concept of grace does not exist for such a limited intellectual consciousness, without Grace any talk of spirituality makes no sense. Sober and pragmatic jurists of antiquity, in spite of their rank as priests, did not claim to bear witness to the world of holiness, but had a convincing command of a language capable of showing such testimony. Where an idol is created by right, God is forgotten. The process of lawmaking creates the illusion of belonging to the eternity of omnipotence, immortality, the creator in his own creation. Thus, the freedom of creativity, freedom in general leads to the rejection of the highest Truth. Scientific novelty. Where an idol is created by right, God is forgotten. The process of lawmaking creates the illusion of belonging to the eternity of omnipotence, immortality, the creator in his own creation. Thus, the freedom of creativity, freedom in general leads to the rejection of the highest Truth. Practical meaning. Continuous progress has led to the fact that we had to point out the obvious: the role of religion as a factor in the law-making process, which gave law and spiritual content, and moral guidelines, and the conceptual apparatus, and its "sound form".
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Peterson, Mary Star of Evangelization. "Sebastian Morello: The World as God’s Icon: Creator & Creation in the Platonic Thought of Thomas Aquinas." Incarnate Word 8, no. 1 (2021): 176–79. http://dx.doi.org/10.5840/tiw20218114.
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Salonna, Ilaria. "What Is Art? From the Perspective of an Art Creator." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 159–63. http://dx.doi.org/10.18290/rkult22134.22.
Full textAbstract:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
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Epingeac, Alina. "“What Is Art? Horizons of the Creator and the Recipient”." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 75–77. http://dx.doi.org/10.18290/rkult22134.9.
Full textAbstract:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
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Ferguson, Stephen. "Book Review: Creator God, Evolving World by Cynthia Chrysdale and Neil Ormerod." Lonergan Review 8 (2017): 145–48. http://dx.doi.org/10.5840/lonerganreview201789.
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Monfrinotti, Matteo. "Il Dio Creatore nelle testimonianze esamerali di Teofilo di Antiochia e Clemente di Alessandria." Augustinianum 58, no. 1 (2018): 7–44. http://dx.doi.org/10.5840/agstm20185811.
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Early Christian authors were challenged by the impenetrable question of the origin of the world, but persevered in tracing the creation of the universe back to the one and only God. Part of their response was to defend the truth of God, the Father and Creator by meditating and commenting on the biblical account of the six days of creation. The commentaries on the Hexameron which we have are by Theophilus of Antioch and Clement of Alexandria. Theophilus, author of the oldest commentary on Genesis 1:1-25, pursues a primarily apologetic aim in favour of Christian monotheism and of faith in God who, through his Logos, is the Creator of all things; Clement, through statements scattered throughout his works, confirms in opposition to Gnostic-Marcionite ditheism that God the Father, working through the Logos, created the universe according to a plan of salvation whose fulfillment will be redemption at the end of time. Exegesis is combined with theology and – on the basis of a philosophical substratum which also includes predominantly Judaic traditions – translates into principles which will later open the way to protological reflection.
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Feng, Zongren. "Picture of the World in the Artist’s Work." Humanitarian Vector 15, no. 5 (October 2020): 79–84. http://dx.doi.org/10.21209/1996-7853-2020-15-5-79-84.
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Recently, scientists from different fields of scientific knowledge have actively turned to the analysis of social development within the framework of the picture of the world as its specific construct, the mechanism of interaction between man and society. The theoretical foundations of the research of modern scientists in the field of research are the work of the classics of philosophy, sociology, natural sciences, etc. V. von Humboldt created the concept of a picture of the world, based on the introduction of such concepts as “internal form” and “spirit of the people”.There is no universally accepted definition of the concept of “picture of the world” in science, which is explained by the dynamism of modern reality, the polysemy of the concept itself, and its inconsistency. The picture of the world is understood as a generalized image of the surrounding reality, created in the process of human perception of the world and existing in the form of scientific knowledge, concepts, laws, and everyday consciousness. The picture of the world is an objective world of two, an epistemological construct. The article assesses various approaches to the study of the picture of the world in modern scientific knowledge: philosophical, sociological, natural – scientific, etc. The levels of the picture of the world are distinguished: scientific and ordinary, their features are described. The analysis of the concept “picture of the world” in the works of modern scientists is the theoretical and methodological basis for the study of the picture of the world in art, which has its specificity and reflects the world in the minds of the creator. Creating a picture of the world in artistic creativity represents an understanding of the world around us in individual consciousness. The concept of “a picture of the world in the artist’s work” is revealed by the example of an analysis of the works of a Chinese painter Hai Zhi Han, a member of the Union of Chinese artists, a teacher at the Inner Mongolia Pedagogical University. Keywords: picture of the world, creator, picture of the world in the artist’s work, anti-rationality, expressionism
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Małecki, Zdzisław. "Teksty o Marduku i ich wpływ na Księgę Deuteroizajasza." Ruch Biblijny i Liturgiczny 62, no. 1 (March 31, 2009): 5. http://dx.doi.org/10.21906/rbl.189.
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The article is aimed at answering the question if the Babylonian texts, depicting Marduk as the creator of the world, had any influence on the text and theology of the Book of Deutero-Isaiah. In these texts Marduk speaks about himself as the creator and master of the whole world. Some contemporary exegetes, who have compared Babylonian texts with the text of the Book of Deutero-Isaiah, want to see their influence on the editing and theology of this Book.
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Małecki, Zdzisław. "Teksty o Marduku i ich wpływ na Księgę Deuteroizajasza." Ruch Biblijny i Liturgiczny 62, no. 1 (March 31, 2009): 5. http://dx.doi.org/10.21906/rbl.266.
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The article is aimed at answering the question if the Babylonian texts, depicting Marduk as the creator of the world, had any influence on the text and theology of the Book of Deutero-Isaiah. In these texts, Marduk speaks about himself as the creator and master of the whole world. Some contemporary exegetes, who have compared Babylonian texts with the text of the Book of Deutero-Isaiah, want to see their influence on the editing and theology of this Book.
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D, Kiruba Vellaiyammal. "Language and Strategy in the Novel Totta Alai Todatha Alai." International Research Journal of Tamil 4, S-7 (July 30, 2022): 265–72. http://dx.doi.org/10.34256/irjt22s742.
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As a phenomenon of nature, every human being in this world is born without any problem. Not just the experience of birth. Even if we experience it, it is not recorded in our mind and does not understand. When it comes to death every human feels compelled to the last drop. But he dies before realizing it. Birth is a wave that does not touch him. Death touched wave. This is the central theme of the novel Totta Alai Todatha Alai. What adds specialness to the novel Totta Alai Todatha Alai is its style of language. Style is the structure of language that describes the object taken. The creator who lives in the society creates only the experiences he has in the society. Personality is the predominance of his experiences. Language style is the system of style followed by an author to express his work. The creator wants his creation to touch people's hearts. He uses simple language style and techniques to impress the reader with the idea he wants to convey. In this way, this article aims to fully classify and examine the language style and strategy of S Sankara Narayan's Totta Alai Thodatha Alai novel, which has made its own place in the world of Tamil literature. The novel Totta Alai Todatha Alai, which deals extensively with death, is a prize-winning novel of the Tirupur Tamil Society.
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Craig, David, and Stuart Cunningham. "Toy unboxing: living in a(n unregulated) material world." Media International Australia 163, no. 1 (March 23, 2017): 77–86. http://dx.doi.org/10.1177/1329878x17693700.
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The phenomenon of toy unboxing describes rapidly scaling and commercialising videos featuring the opening, assembling and demonstration of children’s toys, often by children, across social media platforms. This phenomenon has fostered concerns by parents and advocates around children’s access to and participation in social media. This article provides a brief history of this phenomenon, noting the very limited scholarship on the issue while engaging with the new regulatory questions it provokes. We describe how these videos represent forms of creator labour and operate within the structural and material interests of social media entertainment (SME). SME refers to a proto-industry featuring professionalising-amateur content creators engaging in content innovation and media entrepreneurship across multiple social media platforms to aggregate global fan communities and incubate their own media brands. Our analysis accounts for how unboxing videos work for children both as agents and as small businesses and provides pointers to more nuanced regulatory approaches.
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McDONOUGH, RICHARD. "The Gale–Pruss cosmological argument: Tractarian and advaita Hindu objections." Religious Studies 52, no. 4 (July 20, 2016): 513–23. http://dx.doi.org/10.1017/s0034412516000123.
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AbstractThe article criticizes Gale and Pruss's new cosmological argument (hereafter GP) which purports to prove that the world is created/designed by a powerful intelligent necessarily existing supernatural being (not the full-fledged God of theism). First, the article employs a ‘necessitist’ counterexample to GP's modal premise, S5. Second, it is argued that GP presupposes a restricted range of possible accounts of the generation of the universe. Third, it is argued that GP's argument that the creator is a necessary being is flawed. Fourth, it is argued that GP's argument against Quinn's objection, modelled on the advaita Hindu view of creation by an impersonal being, also fails.