Earthly Realities Research Articles

The Popes as guardians of human dignity

The text emphasizes the significance of a Christian philosophy of life in guiding a society towards human rights and the dignity of individuals. It underscores the Church’s prophetic role, asserting that followers of Christ are called to uphold justice and oppose oppression. The text also highlights the interconnectedness of eternal salvation and temporal well-being, rooted in core Christian convictions. It explores the Church’s responsibility for the common good and the autonomy of earthly realities, advocating for the respectful stewardship of creation. The text addresses the contemporary challenge of protecting human life at all stages and emphasizes the Church’s historical commitment to the value of every individual. Drawing on Pope John Paul II and Pope Benedict XVI’s encyclicals, it asserts that the Church is inherently charitable and actively engaged in promoting human development, education, and well-being. The text rejects the notion that the Church should merely react to global issues, arguing for a proactive role in shaping the future by emphasizing humanity’s vocation within God’s creation. It critiques ideological pluralism that rejects moral truths, highlighting the emptiness and lack of true hope in a worldview without God. The text asserts that the Church’s antidote to this vision is to focus on the beauty and dignity of the human person, emphasizing the individual’s dual nature of soul and matter. It acknowledges the challenges within a secularized society but stresses the need for human rights to be rooted in an authority beyond human consensus for lasting universality.

The Esoteric dimension of human existence

In this article, the author offers his own approach to the study of the phenomenon of esotericism. The concept of the esoteric path of V.M. Rozin is used as a specific point of repulsion. The author offers his own, expansive understanding of esotericism, which shows the presence of “internal” and “external” ways in the implementation of various ideal design directions. Various kinds of socio-cultural organizations in this sense have their own esoteric dimensions, their own variants of esotericism. The fundamental problem here is the ratio of esoteric and exoteric dimensions of socio-cultural systems. A special theme is the correlation of esoteric worlds of different nature and scale. Here the author comes to the fundamental problem of the correlation of cultural worlds as objectified esoteric worlds, to the problem of the conflict of cultures and the formation of the post-cultural strategy of modernity as a response to the challenge of this conflict. Modernity in this perspective becomes a transition from “cultural” socio-cultural architecture to “post-cultural-intercultural”. Within the reality of modernity, the author highlights the problem of “secular esotericism” associated with the formation of a culture of “passing through earthly reality”.

BLESSING: Exploring the Religious, Anthropological and Ethical Meaning

The point of departure for this essay, which reflects on the religious, anthropological and ethical meaning of the act of blessing, is the multifaceted tradition of all kinds of blessings in the Catholic faith community, both in a sacramental and non-sacramental context. To properly understand the act of blessing, it is necessary to outline the existential and religious background of the blessing as an experience and condition. Starting from the general biblical background of blessing as an earthly reality, attention is paid to the transition from the implicit to the explicit religious meaning of blessing as a gift. Subsequently, the act of blessing in its bi-dimensional modality, namely as word and gesture, receives the necessary attention. This is accomplished by a shift from a theological to a philosophical understanding; this is anthropological and existential understanding of blessing. First, the specificity of the blessing as a language event is examined. Then, the bodily and possibly material form of the act of blessing is explored phenomenologically. Thus, it will appear that what is specifically Christian also has universal significance, is literally “catholic”, that is, “kat’ holon”, meaningful “for everyone”. Last but not least, consideration is given to the “power” of the act of blessing, both its “founding” power and the risk of magical derailment.

THE ROLE OF THE SKY MOTIVE IN THE DEVELOPMENT OF KONSTANTIN LEVIN’S STORYLINE IN TOLSTOY’S NOVEL “ANNA KARENINA”

The Sky and the Universe attracted close attention of Tolstoy, the artist. The image-symbol of the sky accompanies the writer’s beloved heroes on the life path. The article is devoted to the role of the sky motif in the development of the plot line of Konstantin Levin — one of the central characters of the novel Anna Karenina, and the influence of the sky on his fate. Tolstoy’s hero is closely connected with the Universe and with the earthly reality. He looks for the Truth, answers to the most important questions of being, seeking to comprehend the meaning of life, gaining faith, focusing on the eternal, beautiful sky and earthly reality; he commits to economic activities, house–building. He seeks to understand the ethical ideals of the peasantry. The article discusses several episodes, describing the hero’s meetings with the Universe, which are connected with his desire to gain love, happiness, harmonious personal relations, with an intuitive sensation of the inextricable connection of the earthly and the heavenly, the perfection of the Universe and with the transition to a new stage of spiritual development. These episodes are created with exceptional artistic skill. The scene of spring hunting in the forest at sunset demonstrates the hero’s organic connection with the Cosmos; his involvement in the element of the Earth and the celestial element. The next situation marks the turning point in the hero’s personal fate. It is dedicated to Levin’s fleeting vision, when he, before the morning dawn after a night spent on stacks of hay, sees like a dream a pearl shell–cloud in the sky. The impression of a church cross against the backdrop of the winter night sky, stars, the Auriga constellation with a bright star, Capella, is such that “seized from the conditions of material life”, the hero feels the mysterious contact of the soul with heaven. The impressions of this night are associated with good omen for him. On the last pages of the novel, after the thunderstorm, the hero experiences his indissoluble unity with the Cosmos; he is inclined to conclude that the undoubted manifestation of the Divine are the laws of good, accessible to every human heart, uniting all people. In these minutes, Konstantin Levin feels that he is close to finding the faith. The revelations he received anticipate the transition to a new stage in the hero’s spiritual development, the unknown paths of life revealing to him.

Маятник философского осмысления «архитектуры мира»: от земной реальности к небесной (духовной) и обратно

The article analyzes the turns of philosophical comprehension, which, figuratively speaking, can be likened to a pendulum, namely from understanding being as an earthly reality to interpreting it as a spiritual and heavenly reality, but also a re­verse turn. We consider the turn made by Plato, who opposed the world of things and ideas, placing ideas in the sky among the gods and goodness, then Aristotle’s reaction to this move, which, on the contrary, endows the ordinary world with be­ing (its first essence coincides with single things). The turn that was outlined by St. Augustine: if initially he thought of God within the framework of earthly exis­tence, then he realized that this is the Spirit, the creation according to the Word, the way and the truth. The next turn takes place in the Renaissance, it is prepared by Nicholas of Cusa, who removes the opposition of earthly and heavenly, natural and artificial. Francis Bacon completes this turn to earthly reality and nature. The author tries to understand the pendulum described by him not just as the oppo­sition “earth – sky”, “real and sacred”, but as a difference between two methodolo­gies of historical understanding and study of the world. At the end of the article, a possible turn is discussed, which is outlined in our time, associated with the cri­sis of modern civilization. This is not about the rejection of earthly reality and the pragmatics of life, but about the effort and will to live, about faith in the possi­bility of continuing life on earth, but different, rethought, rebuilt. The question is raised: are not such a turn, efforts and faith – the movement of the pendulum in the other direction? This, of course, is not the sky of Plato, and not the sky of the Lord, and not even the cosmos in which humanity could find a more perfect life. Most likely it will be the sky of our real life, but a life thought out, trans­formed, having a real chance for continuation and development.

THE IMAGE OF CHILDHOOD IN THE SHORT STORIES BY FYODOR SOLOGUB

The article analyzes the features of the artistic embodiment of the image of childhood in the short stories by Fedor Sologub, a Russian writer of the late XIX — early XX century. In his works, the author turned to the theme of the tragedy of human earthly existence and the image of a suffering child. The theme of childhood in Sologub’s creative quest is integrated in the context of the leading artistic and aesthetic trends, trends, styles of the turn-of-the-century period – symbolism, naturalism, decadence. In his short stories, which address children's images and destinies, Fyodor Sologub assigns a dominant role to symbols. The writer’s works about childhood contain numerous symbolic images that acquire unexpected forms and semantic content. The author delves into the world of children's consciousness, which is turned towards transcendental, supersensible knowledge. In this regard, Sologub’s short stories are saturated with images of death and motifs of a child’s altered consciousness. The essential features of Fyodor Sologub’s ideas of childhood are determined by the specifics of his philosophical beliefs. The writer’s creative path and his worldview are inextricably linked with the philosophical views of Arthur Schopenhauer and Friedrich Nietzsche. The author’s desire to embody the cult of beauty, death and madness in his works of fiction about children was the result of his fascination with the ideas of German philosophers. The theme of the child hero’s departure from the hardships of earthly reality into the world of dreams, art, beauty, madness, death was prioritized in the writer’s work. The saturation of texts with landscape and color images, which are often juxtaposed, contrasted, was an important setting of the artistic world of Sologub’s short stories about childhood. Color symbolism is extremely significant in the works of the writer, revealing the theme of childhood. The ambiguity and semantic saturation of color imagery endows the short stories about childhood with uniqueness and individuality. The principle of duality, the idea of the supra-world nature of the child-hero, the borderline of his inner worldview was expressed in the writer's prose devoted to the theme of childhood. The image of a child appearing in the short stories fully reflects the author’s belief in the mystery, uniqueness, and incomprehensibility of the inner world of a little person. The writer felt close to the theme of suffering and humiliation of a child, which first emerged and was fully shaped in the Russian literature of the XIX century.

Fotogrametrik nokta bulutu verisinin makine öğrenmesi ile sınıflandırılması

Today, thanks to the development of science and technology, the three-dimensional earth reality has been modeled and a new page has been opened in map production. Especially with the development of photogrammetric methods, point clouds have started to be used in many areas. Extraction of information from point clouds has become important with the growth of data sizes and the spread of usage areas. Since point cloud data consists of a large number of points, learning-based approaches have been used to classify these data. When learning-based approaches are used for the classification process, the distinguishability of the objects in the point cloud from each other increases and provides convenience and reliability for studies. The usage of machine learning, which has powerful mathematical algorithms, comes first in order to analyze complex data. Within the scope of this study, point cloud data was produced by using aerial photographs taken from unmanned aerial vehicle of the region determined in Istanbul Technical University Ayazağa Campus and classified according to four classes (building, tree, vehicle and ground level objects). This classification process has been done by using Random Forest (RF) and Multi-Layer Perceptron (MLP) algorithms from machine learning algorithms. The overall accuracy was 78.54% with the RF algorithm, and 89.88% with the MLP algorithm.

Dostoevsky's Christianity

The article refutes the widespread view that Dostoevsky's Christian beliefs were strictly Orthodox. It is proved that Dostoevsky's religious and philosophical searches' central tendency is the criticism of historical, ecclesiastical Christianity as a false, distorted form of the teaching of Jesus Christ and the desire to restore this teaching in its original purity. Modern researchers of the history of early Christianity find more and more arguments in favor of the fact that the actual teaching of Jesus Christ is contained in that religious movement, which the church called the Gnostic heresy. The exact philosophical expression of the teaching of Christ was received in the later works of J.G. Fichte, whose ideas had a strong influence on the Russian writer. Like Fichte, Dostoevsky understands Christ as the first person who showed the possibility of revealing God in himself and gaining divine omnipotence and eternal life directly in earthly reality. In this sense, every person can become like Christ. Dostoevsky's main characters walk the path of Christ and show how difficult this path is. The article shows that Dostoevsky used in his work not only the philosophical version of true (Gnostic) Christianity developed by German philosophy (Fichte, Schelling, Hegel), but also the key motives of the Gnostic myth, primarily the idea that our world, filled with evil and suffering, is created not by the supreme, good God-Father, but by the evil Demiurge, the Devil (in this sense, it is hell).

Christian Tradition and (Post) Modernity in the Context of Cardinal Stefan Wyszyński’s Personalist Concept of Culture (2)

The subject of this article is to present the Christian cultural tradition in the context of (post) modernism from the perspective of the personalistic vision of culture presented by Cardinal Stefan Wyszyński. The author’s interpretation of source materials aims to show Christian culture as a “sphere of earthly reality” shaping the human person in its integral dimension, i.e., both in the individual and social dimensions and the temporal and supernatural. In the personalistic-praxeological sense, Christian culture is rooted in the biblical-traditional values, which – perceived as a gift and obligation – are developed primarily in the sphere of the daily Christian life, especially in the dimension of family and nation. The author of the article asks whether the aretology of Cardinal Wyszyński’s personalistic concept can be applied to the specific realities of the up-to-date fact of cultural life? The answer to such questions is essential, especially in the context of the currently proclaimed “ideological pluralism” characteristic of the contemporary post-modern culture that emphasizes the moral ambivalence of “liquid” postmodernity.

Technosphere-Urban Society and its Problems

The technosphere which is the artificial shell of the Earth can be considered the contemporary result of developing the society and the world as a whole. The technosphere, being a complex system, contains entire regions, urban agglomerations, industrial zones, industrial and domestic environments. New technospheric conditions include people’s living conditions in cities and industrial centres, production, transport and life amenities. As a consequence, the society from the primary biological becomes technospheric one, i.e. the society dominated by artificial components. When studying the technosphere-urban society, the author uses the methodology of the socio-natural approach, based on the works of V.I. Vernadsky about changing the biosphere by the scientifically organized human mind and forming the noosphere. The basis of this scientific approach to the world study is researching the society and nature, the Earth reality on the basis of their interconnected social and natural development. Technogenic changes taking place in the world (the growing role of the urbanized environment, genetic engineering, living organism cloning) are inevitable. The technosphere-urban society will be the society of the future, created by the technosphere and the global technological development.

ОСОБЕННОСТИ ГЕОГРАФИЧЕСКОГО МЕТА–АНАЛИЗА

Geographical meta-analysis is a methodology for combining the results of studies of various territorial objects of different types of locations by means of logical, mathematical and statistical analysis to justify and test scientific hypotheses. Meta-analytical generalizations are based on a non-statistical approach of comparative geographical research with a transition from initial heterogeneous data sets to homogeneous data that can be statistically processed. The meta-analysis methodology is developed on a meta-theoretical basis from the standpoint of the system stratification (fibering, bundling) of the earth's reality on the manifold of the geographical environment. Locally, the same qualimetric equations for data integration and generalization describes processes and phenomena, so each situation is reduced to the properties of a typical layer (fiber) and universal equations on the connection of variables. Features of using geographical meta-analysis methods are considered on the examples of the spread of COVID-19 coronavirus diseases across countries, seasonal development of taiga nature, and gradient analysis of the factor influence on the distribution of mountain geosystems of various types (geomes). In order to compress information, we use methods for calculating integral indicators and other means of excluding influence from the environment. The revealed regularities do not depend on individual values of factors and conditions that influence the processes and relationships between the characteristics of the state of natural and socio-economic systems. They represent dependencies in a refined form.

The Current Need to Develop a Social Policy on Leisure(s)/Recreation from a Personalist Point of View — A Brief Look at the Canadian Reality

This conceptual article looks at some benchmarks about the need to develop a social policy on leisure(s)/recreation in Canada. In fact, there is a fundamental movement to ensure that this global earthly reality with many dimensions, including sporting practices, are subject to a more rigorous legislation by meeting the urgency of the situation caused firstly by the misunderstanding of the monochrone and polychrone time as well as the episodic socio-economical problems. Relationships between three humanity models, namely —the homo faber –person at work, the homo religious –person-related-to-the-religious/spiritual, and the homo ludens –person at play— are inextricably linked and implied the spiritual model of leisure(s) entitled the homo faber-religious-ludens where persons can identify themselves through the specificity of this continuum within the post-secular era. Some pragmatic stance is finally taken to create a better synergy of leisure(s)/recreation and sporting practices regenerating the social fabric about the Canadian mosaic perspective in the communities of the social world especially from the personalist point of view which will also have a beneficial health outcome during this sanitary crisis cause by the Covid-19 pandemic context on Earth.

«ОРФЕЙ В АДУ»: ТРАНСФОРМАЦИЯ МИФА ОБ ОРФЕЕ И ЭВРИДИКЕ В РОМАНЕ Б. ПОПЛАВСКОГО «ДОМОЙ С НЕБЕС»

The study aims to interpret Boris Poplavsky’s novel Home from Heaven (1935) through the prism of the myth of Orpheus and Eurydice to identify the author’s concept of love, art, and the structure of reality. The novel Home from Heaven contains allusions that refer to the myth of Orpheus and Eurydice. The grounds for comparing the myth and the novel plot are seen in the fact that, in his poetic legacy, Poplavsky uses the metaphor of Orpheus in hell to express his own attitude. Poplavsky’s polemic with the ancient myth, with the understanding of the nature of love and the creative genius is revealed and explained by a change in axiology. The principle of allusions to the well-known myth is determined: it is not a manifestation of collisions of the myth in modern times, but a travesty of the mythological plot. In Home from Heaven, Oleg, the modern Orpheus (aspiring writer), does not descend into the realm of the dead for Eurydice, but he himself tries to return to the earthly reality from the “metaphysical hell”, escapes from God with the help of the female love of Eurydice (Tanya and Katya). Poplavsky’s image of the universe is the opposite of the ordered mythological model of the world: “heaven” is the world of culture and the subconscious, which correlates with the lower, infernal space of eternal torment. It is concluded that the modern man sees “hell” (not Hades) both in the metaphysical sphere of the spirit (culture) and in the earthly reality (in the sphere of eros). The correspondence of the modernist aesthetics to the semantics of the plot of the novel is justified: the modern Orpheus, like the ancient one, cannot save love and be saved by love in the “hell” of being. Poplavsky’s inversion of the myth of Orpheus and Eurydice clarifies his concept of love. A harmonious love relationship between people, uniting them into one whole, is impossible because people are prisoners of their consciousness and cannot fully open its content to others. Oleg discovers that, in order to achieve harmony, it is necessary to “build” a house on the “earth” and in the “heaven”, combining the physical with the spiritual. The modern Orpheus, having accepted the fate of the writer, fulfills his mission: having discovered the “hell” of culture and of his own consciousness, having plunged into the “hell” of the earthly reality, he does not succumb to the false art of Eurydice and discovers the true Eurydice—the Word. He returns to God within himself, to culture, but he knows about reality and unites the “heaven” and the “earth” in the “home” of his own creativity, thereby overcoming the total “hell”. According to Poplavsky’s concept, however, the modern Orpheus cannot claim the role of a medium, a prophet, and art is unable to reveal the future. Art does not transform reality, does not grant immortality to the creator, and is itself not immortal, but destroyed by time. Therefore, the epistemological (cognition of being and self-knowledge) and communicative (transfer of spiritual experience to representatives of future generations) functions of art remain.

Future and immortality in the religious philosophy of F.M. Dostoyevsky (from the novel «Crime And Punishment»)

This article attempts to establish the relationship between the concept of immortality and the future of mankind and the religious faith of the characters of F.M. Dostoevsky's works. This problem is considered with reference to the example of a detailed analysis of the views of the main character of Dostoevsky’s novel «Crime and Punishment» (Rodion Raskolnikov). The characterization of the hero is given in terms of his religiosity. The features of Raskolnikov's worldview are noted; they consist in a combination of faith in God and lack of faith in immortality. It is suggested that the source of such an unusual combination of religious ideas is the historical concept of I.G. Fichte. On the basis of the comparison of the views of other heroes of the novel, the article concludes that the most fundamental point is their idea of immortality as a continuation of the existence of a person in earthly reality. It demonstrates that this point of view corresponds to the religious faith of Dostoevsky himself.

Human Dimension of the Christian Liturgy

Human dimension of the liturgy can be understood only if we are able to grasp the essence of the Christian liturgy, its nature and theological sense and when we realize the criteria which allow us to distinguish “liturgy” from “non-liturgy”. The paper is an attempt to describe a human dimension of the liturgy understood mostly as an anamnesis, a real salvific presence of Christ’s Mystery; a real presence resulting from an objective fact that the liturgy is the performing of a priestly function of Christ by Him and the whole Mystical Body, the Church. The liturgical anamnesis is the acting of Christ as both God and Man. Thus, firstly, a human dimension of the liturgy is directly linked with the hypostatic union of two natures in Christ and results from the human nature of the Saviour. Secondly, the liturgy is the anamnesis of Christ’s Mystery for the sanctification and salvation of people. This fact should be viewed as a fundamental historico-salvific sense of the liturgy which is the final stage on earth in the history of salvation. Finally, the Christian liturgy due to a psychosomatic nature of man occurs at the present stage of the history of salvation under the cover of a visible earthly reality.

O leigo na Sagrada Escritura

A significação do laicato na Bíblia pode ser abordada por três vertentes. A primeira é a canônica, que define o leigo como quem não pertence ao clero (e, por extensão, à vida religiosa), abordagem essa que se mostra pouco relevante para o Novo Testamento, a não ser para a compreensão alegórica do sacrifício e do sacerdócio de Cristo, especialmente na Carta aos Hebreus (Hb 4-6). A segunda é a teologia do “povo de Deus, nação sacerdotal”, reconhecida na sua fonte veterotestamentária, no Êxodo, na sua releitura neotestamentária, sobretudo na 1ª Carta de Pedro (1Pd 2,1-12), com múltiplas assonâncias nas demais Escrituras, e na teologia recente, especialmente em torno do Concílio Vaticano II: a vocação batismal ao sacerdócio de todos os fiéis. A terceira vertente, igualmente alimentada pelo Vaticano II e complementar à anterior, é a teologia (e a pastoral) das realidades terrestres ou da secularidade cristã, com seu pano de fundo bíblico na teologia da Criação e da grandeza do ser humano.

РЕЛІГІЄЗНАВЧО-ФІЛОСОФСЬКА ТРАНСКРИПЦІЯ СИМВОЛУ ТА КАНОНУ В КОНТЕКСТІ РЕЛІГІЙНОГО МИСТЕЦТВА

The article makes an attempt to reveal the peculiarities of influence of such components of religious art as symbol and canon, in the context of the impact on man as a whole. The researcher is interested in the process of their functioning in religious art, both from the side of religious-philosophical analysis and from the point of view of art studies.The symbol, as an integral part of religion, serving both a liturgical and ritualistic function, is the embodiment of the existential meaning of the divine world, immutable and eternal. The symbols clearly demonstrate the presence in the earthly reality of the very beginning of the transcendent, formulating the original position of the connection of the world sinful and sacred. This is their main purpose. Hence, the saturation of religious-cultural symbols with a variety of historical, social, moral-ethical, aesthetic, modern, mystical-esoteric, and other meanings syncretically link in one indissoluble sense, which is involved in the transcendental mystery of being. Hence, the exceptional generalization of religious symbols, due to its abstract nature, maintains its cultural content within the enormous time and space dimensions of epochs, supranational and transgovernmental communities in world religions. Symbolism in religious art allows us to relate the experiences of millions of people to some kind of integrality, different in their ethnic origins and cultural traditions; to act as a form-forming and system-forming factor of separate cultures and whole civilizations.The Canon as a certain law, which is a typical example for imitation, may be not only religious, but also artistic. The canons of artistic and religious origins are born as an integrity that is difficult to divide, but each of them has its own specifics. The canon is often considered only as a factor limiting the artist, but it also has the other side. Compliance with the canon allowed the artist - even a mediocre one - to reach a high level of artistic creativity. Thus, the average level of mass art production, for example, the ancient Russian icons due to the hard canon is very high. The true artist, working on nuances of artistic form, could show his personality and creative genius.The symbolic and canonical components of religious art were unable to completely determine peculiarity or uniqueness of artistic thinking. Only in certain historical frameworks they were able to organize the stability of artistic integrity at a specific content-formal level. Moreover, the canon emphasized the talent and originality of the artist who created within its framework, as in order to create a significant work of art within the framework of the canon, it is necessary to have a great creative potential, the ability to overcome existing stereotypes. Thus, for example, Andrei Rublev’s works were carried out within the limits of the Orthodox, Christian canons, but at the same time it went beyond its formal boundaries, becoming a peculiar and unique phenomenon of the Eastern Slavic culture. The same were the works of other world artists who represented religious and sacred art of the Western Church - each of their geniuses went beyond the narrow limits of theological prescriptions, which is due to the unsurpassed perfection of their artistic creativity, and as a result, the world’s artistic heritage.

La secularidad como actitud existencial

In this paper the history of the term "secularity" is studied highlighting its relation with the meaning of "saeculum" in Christian literature, concluding that, although the usage of this term has been extended to other areas, the notion of secularity presupposes a Christian view of the world. Following San Josemaría Escrivá three dimensions of secularity are considered: the sociological and theological features of secularity; the value of earthly realities, and the connection between laity and conscience of Christian and priestly sense of existence.

La renovación de la escatología en el Concilio Vaticano II

La perspectiva de medio siglo permite apreciar mejor la presentación renovada que hizo el Concilio Vaticano II de la doctrina cristiana escatológica. Este artículo repasa los documentos relevantes conciliares, especialmente Lumen Gentium y Gaudium et spes, destacando la novedad de ciertas aproximaciones y formulaciones contenidas en estos documentos. Aparte de aspectos puntuales, es posible captar un principio general en el magisterio conciliar: aquello que podríamos denominar «tensión escatológica», que impregna las enseñanzas del Concilio acerca de la Iglesia, de la existencia y la actividad humanas, así como de las realidades terrenas y la sociedad humana.

Angesichts des Absurden – Von der metaphysischen Revolte zur islamischen Revolution

The author outlines the idea of the “revolt”, which was defined metaphysically by the writer and philosopher Albert Camus, and applies this theory to the Islamic Revolution in 1979 in Iran. Camus develops an “ethics of solidarity and revolution” against the destiny of humankind which shows how the postmodern inner void can be overcome. This philosophic theory starts with the experiences of the “absurd”, which arises from the discrepancy between the human demand and the earthly reality. The humankind possesses a metaphysical hunger after meaning, which cannot be sated by the world. This leads to a feeling of strangeness, which acts as the basis of the “revolt”, since one cannot find the expected harmony and satisfaction. The author considers the Islamic Revolution promising to re-establish the holy and giving a new meaning of life to the people. He sees this event as an example of history repeating itself, where the searching after meaning is like the labor of Sisyphus.