European Cultural Values Research Articles

Markets as free speech providers and political resignation: Swedish (non)regulation of streaming platforms

In Sweden, the government has been reluctant to regulate streaming platforms, including the measures in the EU Audiovisual Media Services Directive, which aim to maintain domestic and European productions. This article investigates what values are mobilized to legitimate the (non)regulation of streaming platforms in Sweden and what this means for democratic deliberation about platforms, content and culture. Building on policy documents and in-depth interviews, our findings are structured around policies addressing (1) democracy, equality and diversity and (2) European content, production and cultural values. Regulations are perceived to be difficult to enforce and often undesirable. This article identifies a shift in policy where regulating television has given way to producing media-literate, self-governing subjects. We introduce the concept ‘platform gaze’ to explain how regulation has deferred to the desires of platform providers, neglecting, e.g. independent producers. Further, we argue that the political space to discuss streamed content as culture has diminished.

На краю ойкумены: советский писатель о Древнем Египте

The paper analyses the origin of ideas and historical material in the early historical stories authored by Ivan Efremov, the prominent Soviet writer. Also, the influence of the historical dilogy “The Great Arc” on the perception of ancient history in Soviet culture is traced. In general terms, this dilogy can be attributed to historical novels while also considering the specifics of the Stalinist historical novel. Three types of sources have been revealed: prerevolutionary historical research, Soviet historiography, and European colonial discourse. The text analysis indicates that the writer was hardly familiar with the contemporary Soviet historiography of Egypt, which may have caused some criticism of his work by historians. At the same time, Efremov’s ideas were based on the works and translations of Boris Turaev. Thus, the prerevolutionary studies provided a general background, with the European colonial discourse partially overcome but still maintaining the adventurous spirit of the narrative. Overall, Efremov’s image coincided with the Soviet image of ancient Egypt as a slave-holding society. However, the focus of his narrative was not on slavery but on the difference between despotic Egypt and freedom-loving Hellas. The study indicates that the notion of the “Great Arc” served as a unifying thread, connecting these three contradictory paths and symbolizing the intercultural unity and the forthcoming oneness of humanity, thus bridging Efremov’s narratives with Mechnikov’s concepts. These were connected with the values of European culture rather than with Soviet socialist realism.

Classicist, the Romantic and an Uncertain Eternity

In the second half of the 20th century, the Young Wave of Polish poets (the avant-garde poets born in the mid-1940s) clashed with Zbigniew Herbert (a member of the wartime generation, born around 1920) over generational differences. This dispute revolved around poetics (“plain speech” versus “classicism”) and subject matter: whether poets should deal with “contemporary times” meaning current events, especially focusing on politics, or whether they should rather invoke topoi of Mediterranean culture in order to view current events in the context of the permanent values of European culture. For Herbert, this was also a question of the writing strategy, as he felt that topicality should not dominate the interpretation of the poem and that poetry should survive past communism. Adam Zagajewski was chosen as a representative of the New Wave because his early clash with Herbert propelled him to the position of an adversary. Sadly, both Harbert and Zagajewski failed in their attempt at an exegi monumentum, as the educa- tion system of today has abandoned the classical tradition and many allusions to it are simply incomprehensible to today’s high school or even college graduates. Knowledge of recent history is not in demand either. Both poetics are unintelligible to a wider audience and in this sense they have failed.

"ANOTHER WORLD": PROSE BY NATALENA KOROLEVA

The paper is devoted to the main ideological-aesthetic, genre-style, historical and cultural features of Natalena Koroleva’s fiction. Historicism and Catholicism, noticeable in the writer’s prosaic works of different genres and styles, are considered the dominant elements of her artistic worldview and thinking. The analysis focuses on the writer’s three key interwar novels: "An Ancestor", "A Shadow’s Dream", "1313" and examines several aspects of their poetics. Koroleva’s historicism is noted for combining scientific (in particular, archeological) knowledge, religious and philosophical experience and an artistic intuition of the writer. The author’s relationship with Catholicism are defined by complexity and ambiguity – from absolutization to undermining of the Christian dogmas and appeal to the history of religious heresies (like the Cathars, Albigensians). Koroleva organically connected Christian mythology with the European cultural tradition as its integral part and understood Christianity as a fundamental basis for the European spiritual and cultural values. The writer’s beliefs in the interaction of history, religion, culture and literature affected a number of her literary texts, many of which are based on gospel stories, medieval mysteries and folk legends. Each of the mentioned works of Koroleva is perceived as a holistic artistic phenomenon linked to her other works and created on the basis of her research into ancient, medieval, and early modern history. The novel «An Ancestor» is viewed as the author’s individual-mythological vision of the family history and the work that, having absorbed various genre varieties (family chronicle, travel novel, historical novel), testified to the author’s attention to the social-cultural, historical, and religious-spiritual characteristics of a person of the early modern era. Koroleva’s novel "A Shadow’s Dream" is regarded as having a connection with the genre of an "archeological novel" ("The Emperor" by Georg Ebers is a particular example of the latter). The novel "1313" is perceived as the author’s attempt to artistically depict the motif of a man’s encounter with the devil in the moral, psychological, cultural, philosophical, and mythological contexts of medieval Europe. The historical and cultural content of Koroleva’s prose, its artistic, aesthetic and ideological potentials are additionally emphasized.

Sztuka wobec przemian wartości – perspektywa pedagogiczna

The purpose of undertaken considerations is to exhibit axiological status of art, modern art in particular, against cultural transition of values. Dangers of ongoing transformation of values on global and European scale were pointed out. Attempts of counteracting those adverse changes of values have been presented. One course of the research is a reference to the permanent values of European culture constituting achievements of many generations. Another direction is determination of values, that can be accepted in multicultural world. The common good is proposed as an axiological universe. The axiological potential of art in Polish pedagogy theory is shown in the context of contemporary problems. It is incorporated in presenting art as an autotelic value and in updated educational values. Changes in the field of art education have been considered, including modern, popular and net-art. The concepts of art from postmodern philosophy present in pedagogical interpretation were recalled, which emphasizes value of understanding oneself and the world through art. Due to the dual potential of art in pedagogy, it can constitute axiological universe for 21 st -century education.

Русская речь в духовной жизни мусульманского общества Южного Кавказа: историко-социологический анализ

Purpose and objectives of the study. The article is devoted to the history of the spread of Russian speech in the nearby spaces of the Russian cultural and linguistic area, in particular in the South Caucasus, as well as its educational and communicative role in the creation of a universal information system and lexical base, in enriching the speech culture of peoples who speak non-Slavic languages. Research methods. As a research method, a monographic approach was chosen based on the analysis of historical materials on the settlement of Russian speakers in the South Caucasus. Factual materials are systematized and classified by social spheres; the main factors that influenced the nature and content of the language policy and practice of using the Russian language in the region are identified. Research results. Russian speech is considered as a means of unifying the verbal potential of different peoples of the South Caucasus, even in some way as a specific, local "lingua franca" in interethnic communication within the linguistic pluralism of the population of the South Caucasus. The extraordinary educational mission of Russian speech and its place in the transformation of European scientific, cultural and general educational values to the peoples of the South Caucasus in the 19th–20th centuries are the main motives of the article. The fact of modification of the language resources of the Russian language in the conditions of multilingualism of the peoples of the South Caucasus is noted. Morphological, syntactic and semantic changes in the vocabulary of the Russian language in the region under the influence of everyday language practice are revealed. The features of the mutual influence of Russian and local languages, the main factors and consequences of this influence are revealed. Another key point is the modern role and significance of Russian speech in the everyday, socio-economic and scientific-cultural life of the national states of the South Caucasus, in particular the Republic of Azerbaijan. Thus, the Russian language has acquired a certain political and cultural significance for the people of Azerbaijan, and the cultural and historical foundations that have been formed over a fairly long period of time provide an opportunity for the further, consistent development of former linguistic ties. An opportunity was obtained to establish ties with the Russian linguistic area, to develop spiritual relations. On the territory of Azerbaijan there were significant settlements of Russian settlers, with whom local residents established broad economic and cultural ties. Their dialects were very diverse. They influenced the vocabulary of the Russian language. The historical events that have taken place have determined the importance of Russian culture as a factor in interethnic interaction in the South Caucasus. It was the Russian language that became a means of interethnic communication, within the framework of which the development of education took place, and in general enlightenment. Thus, the Muslim population of the South Caucasus was involved in Russian political and cultural processes. There was a kind of linguo-ethno-cultural dialogue in a multi-ethnic environment. Thus, in the period under study, through the Russian language, the process of introducing the Muslim population of the South Caucasus to the global cultural processes took place

Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators.

Background: Ancient Greek tragedy remains today a special dramatic genre that expresses the concept of the classic through time, perhaps better than any other form of art and culture, representing, as a theatrical expression, the vision of the conception and expression of values of a particular era. In this context, the purpose of the present research is to study the humanitarian values of European culture, as they are expressed in ancient Greek drama, and to highlight the way in which these values are projected through modern drama and are impressed on the spectators. Methods: To achieve this goal, 105 spectators watched the tragedy of Aeschylus 'Seven against Thebes' directed by Cesaris Grauzinis and answered, both immediately after watching the performance and six months later, a questionnaire, in order to record their opinions about the theatre performance they had attended. Results: According to the findings of the comparative analyses, it emerged that the messages and values governing the work remain unchanged for its viewers over time. The memory is based on original audio-visual elements and directorial findings, confirming that it preserves the messages of the symbolism of the performance as well as the channels through which they were conveyed to the audience. Conclusions: The correspondences between the past and the present, as well as the contrasts on stage, contributed to the reproduction of the fundamental moral values that the dramatic work brought, highlighting the work and messages of Aeschylus.

HUMANISTIC POTENTIAL OF CULTURE AND VALUES

The scientific article sets the tasks of revealing the nature and characteristics of the current state of culture and values ​​of Kazakhstani society and identifying their spiritual and moral potential for implementation in conditions of the new Kazakhstani reality and tasks of sustainable development. The authors reveal the place and role of normative and value content of the traditions of the culture of the Kazakh people and ethnic groups of Kazakhstan in the processes of modernization of public consciousness. The article indicates the importance of a comparative analysis of Turkic, European, Islamic and domestic cultural values ​​in the context of the concept of sustainable development, identifying universality, concretizing the features of the Kazakh value discourse, researching ontological significance of religious values ​​in the hierarchy of cultural values ​​of Kazakhstan. The authors emphasize that the philosophical and sociological dimension of the cultural and value paradigm of Kazakhstan and the practice of its implementation through the prism of spiritual and moral development, analysis of risks and emerging opportunities in the field of science, education, digital reality in the context of sustainable development of society is very important in identifying the humanistic potential of modern Kazakh culture and its value bases.

The contribution of Italian immigrants to the iconography of Brazilian Modernism: building national identity through the depiction of food

The turn of the 19th century was a time of social and economic changes in Brazil. The country grew due tocoffee production and searched for more presence abroad recurring to pictorial representations that wouldapproximate the country with European cultural values. At the beginning of the 20th century, however,Modernism ascended in the arts scene, changing the way the country was represented. The movementintended to build a national identity that reflected the actual Brazilian society, breaking with old paradigmsand broadening pictorial representation. To make up for the workforce shortage, Brazil opened itself toimmigration. German, Portuguese, Spanish and, especially, Italian immigrants arrived in the new world. InFine Arts, eating habits, trade and agricultural techniques, Italian immigrants played an important role in thebuilding of Brazilian identity. This paper describes the contribution of Italian immigrants and descendants toBrazilian culture amidst the Modernism movement through the depiction of elements that intrinsicallycompound Brazil’s and Italy’s diet, economic and social formation, namely, coffee, bread and the wide rangeof food supply of street markets.

Teksty lingwokulturowe w nauczaniu języka polskiego jako obcego

The implication of legends, fairy tales or stories to the teaching of foreign languages is not a new idea: the usefulness of such texts teaching Polish as a foreign language has already been emphasized in the literature of the subject. Researchers point to an important fact that manifests itself in teaching: we teach the language to adults, but we teach them as if they were children. The essential attributes of the texts in question make us refer to our personality and cultural identity, because fairy tales and legends are deeply rooted in us and co‑create an intercultural and intergenerational bridge between the past and the present. They are also the cradle of linguistic and cultural interactions with family, people of the same nationality, but also people from other cultures and languages. These texts show how much we grow into the culture of a given society and adopt traditional patterns of behavior, and hence they prove that the cycle of linguistic and cultural transmission is permanent. The cultural message takes place by introducing young generations to tradition and fundamental values of national, European and world culture.

КУЛЬТУРНЫЕ СТЕРЕОТИПЫ В ЭТИКЕ СТОИКОВ И СПИНОЗЫ

Starting from antiquity, European ethics formed some stable stereotypes in describing the collisions of the rational and sensory components of moral life, where value priorities were given to the rational principles of a person's moral life, which were opposed by the sensory-emotional, affective sphere of mental life. In this regard, aspecial signifi-canceacquiresa cultural stereotype associated with the interpretation of the concept of nature. His assessment is based on the opposition of the concepts natural / artificial, spontaneous / rational, involuntary / intentional. One of the most important resources of the European cultural tradition is the history of philosophical ideas, many of which have acquired a paradigmatic status and have become common European cultural values. It will be about the interpretation of the nature of passions in ancient Stoicism and the philosophical system of Spinoza. The phenomenon of passion is considered in the following aspects: passion as a disease of the soul, passion as excessive striving, passions as special physical states of mental substance, passion as a false judgment, passion as a phenomenon of metaphysical discrimination.

Anledningen til å jobbe fritt

Milada Blekastad (1917–2003) was a translator, writer, and university lecturer. She was bornin Prague; however, she spent most of her life in Norway. She translated books from Czechto Norwegian and vice versa. Blekastad was also a scholar focusing on the work of Jan AmosComenius (1592–1670), a leading humanist, theologist, philosopher, and pedagog.Norway helped Blekastad to develop her full potential. In return, she worked hard to introduceCzech (or wider European) cultural values to Norway through her work. What circumstancesshaped the mutually enriching relationship between Blekastad and the Norwegian intellectual,academic, and cultural environments? What drove her rising social trajectory? To answer thesequestions, one must look at the social fields she operated in, at her habitus, and at the culturaland economic capital she managed to turn into symbolic capital in a country that was not herhomeland.

Political contexts of the "soft power", cultural and educational diplomacy of the european countries through channels of local-global interactions

The use of "soft power" as the set of extensive organizational and project tools by the conventional bodies of the European Union and leading European countries (Great Britain, Germany, France, Spain) for informal promotion of their national interests and common European values in third countries, including Russia, is being examined. Existence of the EU as itself in the comprehensive configuration and with the current ideological principles serves not so much as an example and a role model but as an object of aspiration of both the political elites of non-EU countries and their ordinary population. Despite the notorious disagreements among some of its members on certain political issues EU demonstrates solidarity in adherence to the principles, norms and rules developed over decades for socio-economic and cultural-humanitarian integration. Considered national language programs, cultural and educational initiatives have a common feature that the studied foreign language fully reflects the life of its “native” land. Moreover, textbooks and teaching aids in most cases contain value orientations of the people or value agenda of the whole country. All of them are designed to train foreigners in a variety of majors: as a result, most exchange students participate therein for their capabilities expansion, personal capital increasement and possible further employment in the country of study, based on the expected high level of income and everyday life. Conclusion is drawn about the disproportion of the significant resources directed by individual European states and the central EU bodies to promote common European cultural and political values, and the relatively modest efforts of the Russian government to expand the “global” Russian world towards the “local” areas which historically and civilizationally gravitate to Russia.

Fundamental values of European legal culture in the provisions of the polish constitution 1791

The article reveals the importance of legal culture for the social and state life of any country and for ensuring the life of both an individual and social groups, communities and humanity as a whole, which is due to its ability to involve a person in the system of legal values, accumulate legal experience and transfer it from generation to generation.
 It is noted that the European legal culture, in addition to natural rights, democracy, the rule of law, has other values that ensure the sustainable development of society, social justice and legal progress. It is emphasized that the analysis of legal monuments, which are so rich in European state-legal history, helps to trace the evolution of the formation of value-legal guidelines in modern Europe.
 Based on the analysis of the text of the Polish Constitution of 1791, those provisions that contain the fundamental values of European legal culture that have become value guidelines for the further state-legal development of Poland are highlighted. All values that stem from their content are divided into two groups: 1) values that reflect the value guidelines of the Polish society of that time (patriotism, religious tolerance, freedom, dignity, equality, property, inviolability of legal certainty, people); 2) values that reflect value guidelines for the organization of state power (the principle of sovereignty of the people, the principle of separation of powers, the principle of popular representation, the constancy of the constitution, the principle of majority, the principle of political responsibility).
 According to the results of the study, the Polish Constitution of 1791 is an example of an amazing symbiosis of traditions and innovations, when such progressive values as patriotism, religious tolerance, people, territorial integrity, freedom, the principle of sovereignty of the people, the principle of separation of powers, political responsibility, the principle of popular representation, the principle of majority coexist with traditional estate privileges and the institution of dependent peasants. It is indicated about the special attitude of the Polish people to this document as a certain state symbol.

Traditional Worldviews of the Slavs and the Balts: Towards Cognitive Comparative Research

Since the 1980s, research on linguistic worldview and collective identity, practised by anthropological, cultural, and cognitive linguists, has focused on identifying and defining the basic values of European culture against a possibly broad comparative background. If standard languages and national traditions have been under scrutiny in the project EUROJOS since 2009 (see the partial results in the five volumes of the “Axiological Lexicon of Slavs and Their Neighbours” and several other publications), value systems of folk cultures have not been studied systematically so far. I therefore propose to revive the idea of an ETNOEUROJOS project, parallel to EUROJOS. In an article published in 2013 in the journal Etnolingwistyka, I postulated that values in folk languages and cultures be investigated within the methodology of the Lublin-based “Dictionary of Folk Stereotypes and Symbols”, whose aim is to reconstruct the folk Polish view of the world and of humans. I now propose, by analogy to the project EUROJOS, to extend the scope of this new program onto the Baltic peoples. A survey conducted among distinguished researchers of Slavic and Baltic traditions has revealed a set of values important for the Slavs (life and health, fam ily and kinship, home, lan d, work and diligence, love, beauty, happiness, wisdom, can didness, honesty, faithfulness, justice, freedom, honour, faith/religion, and God) and for the Balts (lan d, bread, work, fam ily, home). The first stage of the project will be designed to reconstruct the four values common to both the Slavs and the Balts (lan d, work, fam ily, home), to propose parallel descriptions of these values, and to compare these cultural concepts for their semantic invariants. The descriptions obtained in the two projects, EUROJOS and ETNOEUROJOS, will help corroborate or refute the prevalent view that at the level of folk cultures, Slavic and Baltic communities are much closer than at the level of national, elite-shaped cultures.

Manifestations of the “non-classical” in the orchestral manner of C. Debussy

The relevance. Multidirectionality of artistic searches in the musical art of the first half of the XX century fully complies with the worldview and values of European culture of that time. The change of perception of the world, matter, time and space is objectified in the sound matter of musical works. Among the composers who have a defining role in paving the ways for new music, we should mention C. Debussy.
 The purpose of the article is to identify and systematize of “non-classical” features in the orchestral manner of C. Debussy.
 The novelty of the article is the study of the orchestral manner specifics of C. Debussy as “non-classical” in certain traits.
 The methodology. The article uses functional, historical, comparative, analytical and complex methods. The theoretical basis of the study are the works of V. Bobrovskyi (2018), H. Golovynskyi (1981), S. Iskhakova (1998), L. Kokoreva (2010), S. Mozhot (2006).
 The result. Extrapolation of scientific statements of V. Bobrovskyi, H. Golovynskyi, S. Iskhakova, L. Kokoreva, S. Mozhot to the sphere of orchestral thinking and orchestral manner of C. Debussy allowed to reveal signs of “non-classical” as the ones that draw a boundary between the principles of classical-romantic orchestration (based on functional harmony) and new music of the XX century. It is the “non-classical” features that allow to create a new sound matter, a new perception of space and time in the orchestral works of the composer. In our opinion, the manifestations of the “non-classical” are: 1) functional restructuring of the orchestral texture on the basis of non-hierarchy as the dominant principle; 2) building a dense, “concrete” in terms of eventfulness and, at the same time, light (massless), broad musical space, 3) levelling the boundary between the exposing (more integral and continuous) type of orchestration and developing (smaller, dialogical, discrete); 4) interpenetration of continuity and discreteness (discrete continuity) at the level of thematics and orchestration as a consequence of erasing the boundary between the functions of background and relief and the exposing and developing orchestration types.
 The practical significance. The results of the work can be applied in the training courses “History of orchestral styles”, “History of foreign music”, which are studied in higher education institutions; in further scientific researches.

German Musical Baroque, a mini European Union avant la lettre: the bassoon concerto

Abstract The German musical Baroque represents a sum of stylistic diversities, in which the European cultural values were merged with the national ones, resulting in a strongly individualized, but malleable style. The works dedicated to the bassoon by German composers are living evidence of aesthetic unity in the Baroque stylistic diversity, emphasizing the universality of music and its cohesive force. The analyzed concertos approach the aesthetics of each composer, through his relationship with Italian and French music, personalized in an expressive form of the German type: robust, in a clear, dynamic solid structure.

Русский космизм и трансгуманизм

The article is devoted to the original phenomenon of Russian cosmism, which is a synthesis of general scientific, natural-scientifi c and cultural approaches to the study of the cosmoplanetary dimension of human. The purpose of this article is to show the alternative to transhumanism, which is contained in the legacy of Russian cosmists. The article shows the threats to humanity that the realization of the ideals of transhumanism can lead to. Culture is faced with a fundamental choice: either further development will go towards the study of human and his position in the biosphere, or a principled course will be taken towards the gradual technical replacement of the natural human body in order to create a cyborg. The article shows that Russian cosmism is fundamentally different from transhumanism by the presence of an ethical teaching, according to which new evolutionary abilities are conditioned by the spiritual and moral perfection of human. By reducing human consciousness to an electronic medium, transhumanism devalues the values of European culture. Along with bold dreams about the future evolutionary possibilities of human, Russian cosmism also contains research programs in which living matter on our planet is caused by various cosmic radiation. The philosophy of Russian cosmism by the scale of the vision of problems, relying on the idea of the cosmic nature of life and the «heart» as a special psychophysiological center of a human can contribute to solving the problem of «high touch» with the latest technologies.

The legacies of 1945: The evolutions of European civic morality

ABSTRACT This article explores the widespread use of the ‘lessons’ of the era of the Second World War in Europe since 1945. This usage proved to be a resilient element of European cultural values, especially in Western Europe during the era of the Cold War. However, with the emergence of a more diverse and pluralist Europe since 1989, so this form of civic morality has been replaced by new narratives of the war years, and of the twentieth century as a whole. These indicate changes not only in historical perspectives but also in the structures of civic morality.

Why a Pearl Shell? On the Fundamental Features of Baroque Corporeality

The article analyzes, in a historical sense, the principles of Baroque literary aesthetics, in particular the fundamental concept of Heinrich Wölflin’s “corporeality”, revealed by the researcher through the example of baroque architecture. The factor of ideological and aesthetic taboos imposed on the human body during the Middle Ages is noted. In the Renaissance, with its emancipated anarchic-individualistic ethics, the perception of the human body as a microcosm arises. The Baroque combines it with Christian notions of morality and conscience and deepens it in a new symbolic sense. In particular, John Milton (“Paradise Lost”) derives physicality as an ontogenetic criterion. Segismundo (“Life is a Dream” by Pedro Calderon) also perceives moral concepts through the mysterious experiences of his own body. The article explains why Wölfin claims the name of the “baroque” pearl as a term among others common in the sixteenth and seventeenth century style names (stile nuovo, stile bizzarro, stile capriccioso, stile stravagante). The mysterious understanding of the human body distinguishes the Baroque era from the Renaissance with its tragic perception of corporeality. In Renaissance and Baroque times, the aesthetic function of death is also represented differently. The figure of the Stoic goes back to antique Baroque literature. The principles of baroque comicality are considered in terms of contrast in the Middle Ages and Renaissance. The Baroque instilled in European art a taste for paired oppositions and dichotomous images. In particular, in the new era, the body was often perceived as a caricature and a humorous version of a serious, “sculptural” body. Classicism fully transferred it into its comedies and in the eighteenth century.conveyed Baroque techniques such as farce, caricature, travesty, wordplay and parody. Baroque corporeality opened up to succeeding generations of Europeans the experience of a world that is and always will be a conflicting, intrinsically antagonistic, largely hostile to the individual entity. The Baroque was the last era during which aesthetic creativity (literature, music, fine arts and architecture) and philosophical-theological thought were historically synchronous and typologically related. It was during this era that the fundamental principles and values of European culture – its so-called “Europeanness” – emerged. This refers the secular nature of art and philosophy; the complete emancipation of the materiality of the world and the corporeality of human nature; and the principle of the autonomy of morality.