Moral Harmony Research Articles

INDIVIDUALITY OF WORD USE IN MARKHABAT BAIGUT'S PROSE

The article shows the artistic purpose and aesthetic, cognitive functions of the use of dialect, obsolete words and neologisms (author's neologisms) in Markhabat Baigut’s works, and their specific stylistic features are determined by examples. On the basis of the writer's works, the place of language usages, which are the subject of research, in the general Kazakh literature and writer's creativity is determined. Markhabat Baigut often talks about his characters not because of their origin, wealth, or career, but because of their morality, conscience, spiritual and moral harmony, individual qualities, and character traits. This is a unique aspect of the writer's skill. The writer skillfully and comprehensively uses the lexical wealth of the common language. It is proven that the writer used dialect words to describe people's living conditions, to show more clearly the spiritual and cultural skills unique to a certain region, and to depict the true nature of ordinary people. During the analysis of the old words used by the writer, who found a shortcut to convey the truth to his students without any coloring, in detail, in natural state, the credo of the author is revealed, which glorifies the national value and supports the renewal of the old. The meanings of historical and archaic words with a predominant stylistic color are revealed, and their artistic function and content load are analyzed. Apart from the neologisms that entered our language with the breath of the times, the order of use and expressive tone of author's new words are described in a broad way. As a result, it is proved that the lexical groups found in the language of the character, in the author's narrative, play an important role in explaining the individual characteristics of the master’s style.

“Pan Khalyavsky” of Grigory Kvitka-Osnovianenko as the autobiografical “educational novel”

The article analyses the role of the food code in the Russian-language novel “Pan Khalyavsky” (1839-1840), written by the Ukrainian writer Grigory Kvitka-Osnovianenko. This novel was written as a memoir of the Little-Russian gentry. It has traditionally been regarded as a satire on the rude mores of backward and ignorant provincials - both in the assessments of nineteenth-century critics and in the history of the literature of the Russian Empire. One of the arguments for such a classification was based on the motives of gluttony and food abundance in Khalyavsky’s “memoirs” as an indication of the “earthiness” and narrowness of the characters' interests. The description of festive feasts, everyday meals, libations, etc., is compared to Rabelaisian subjects: they are considered to resemble the culinary discourse and the methods of its embodiment in Gogol’s early works and in the novel “Dead Souls”. The analysis of the food motif associated with the body code in the article, however, shows that it is important for creating an idealised picture of the past, and not only the history of Little Russia. The idyllic “good past” constitutes a social patriarchal utopia, which is opposed by a new society, the enlightened nature of which deprives a person of traditions, spiritual purity and moral harmony.

Musicus Animal in the Nun’s Priest’s Tale

ABSTRACT The Nun’s Priest’s Tale abounds with musical references—a fact that is often obscured by a common scholarly focus on the roles of philosophy and rhetoric in the tale. What has been lost in those readings is the medieval understanding of music as a branch of philosophy, rather than as mere entertainment. Restoring music to its proper place alongside rhetoric, as coequal branches of medieval philosophy, shifts the framework of the tale, providing a new structure for how to read it. In negotiating music as philosophy through the story of a rooster, Chaucer interrogates three major tenets of Boethian and medieval music theory that tie, respectively, to the plot’s structure, to Chauntecleer’s characterization, and to the final implications of the theme of social and moral harmony. These tenets and their complementary narrative features align and overlap, as Chaucer invites his audience to question the limitations of music and rhetoric in this beast fable.

Проект экологической цивилизации для России (собственные основания и китайский опыт)

The article begins with clarifying the concepts used by the author in the analysis of vari­ous civilizational concepts presented by the philosophers of the past and present (“idea”, “project”, “project idea”, “project reconstruction”, etc.). The author reconstructs these concepts in relation to Russia, including ideas emphasizing the importance of the spiritual organization of life (G.W.F. Hegel, A. Schweitzer, S. Huntington), sophism, unity and in­tegralism (N.F. Fedorov, V.S. Soloviev and P.A. Sorokin), all-humanity (N.Y. Danilevsky, N.S. Trubetskoy, A.V. Smirnov). None of the proposed concepts can be fully applied in the justification of the civilizational project of Russia. However, some ideas could form the basis of this project (spirituality and transcendence, orientation to life and common cause, sophistry and unity, ideocratic character and all-humanity). Russia can embark on the path of becoming an ecological-type civilization. But in order to overcome Western centrism, it is important for her to take into account the Chinese ex­perience in building an ecological civilization that is traditionally focused on the Great Harmony of the world. The environmental crisis in China has prompted the country’s po­litical leadership to make informed strategic decisions, including measures to create eco-nature reserves, a roadmap for nature protection and a program for environmental educa­tion of citizens and, first of all, young people. But the main thing in this strategy is the implementation of a model of ecological modernization, which will lead to the for­mation of a “green” economy, corresponding to the logic of the culture of China itself. All this to a certain extent can be used in the civilizational development of modern Russia and thereby contribute to its economic integration and cultural rapprochement with China. She, like the latter, needs to overcome the paradigm of “systemic exclusivity”, which allows domination over nature and progressive aspirations in relation to the entire environment, as well as to defend her ecological sovereignty. The ecological paradigm makes it possible to integrate different concepts of the civiliza­tional development of Russia. It proceeds from the principle of permissibility as the max­imum possible intervention in the natural processes of the socio-natural environment, and also takes into account the factors of place, human proportionality, environmental friendliness, social solidarity, self-limitation of needs and moderate consumption, mobile intellectual environment, etc. In addition, the civilizational project should have an ethical and ecological justification, taking into account the ideological heritage of Russian phi­losophy and compliance with the criteria of reverence for life, moral harmony, profes­sional selection of environmental subjects.

What is “Restrained” by the katechon? The Finitude of the State in Conservative and Socialist Thought

The concept of katechon (“that which withholds”), essential to both the theological tradition and modern political philosophy, originates in Second Thessalonians by Paul the Apostle. This withholding force which resists the coming of the end times has often been identified with the Roman Empire (and later with the Christian imperial state), the latter seen as a protected space that enabled the spread of the Good Tidings. This mission of containment, on the one hand, endowed the state with a sacred character, but on the other, it marked the state's finitude and imperfection. By withholding time, the katechon does not remove but preserves contradictions and heterogeneity, accepting its incompleteness as the burden of its own mission. In its secularized form, the restraining state conceives of society as an antagonistic space of struggle and conflict, and the function of political power is linked to the establishment of a temporal equilibrium with historically contingent and relative forms. In conservative thought, the katechon state guards society from unifying equality and rationalization, and individuals from the illusion of perfection and moral harmony. The understanding of the state as a force that rises above the disparate elements of society and preserves it against its inherent chaos was also at the core of the Marxist concept of the state. This article, based on a wide range of authors (T. Hobbes, K. Marx, K. Schmitt, K. Leontiev, D. Agamben) will consider conservative and leftist interpretations of the state, which accept and develop the idea of katechon and its interpretations not directly connected with the concept of state power.

Maximalism and Moral Harmony

Maximalism is the view that an agent is permitted to perform a certain type of action (say, baking) if and only if she is permitted to perform some instance of this type (say, baking a pie), where φ‐ing is an instance of ψ‐ing if and only if φ‐ing entails ψ‐ing but not vice versa. Now, the aim of this paper is not to defend maximalism, but to defend a certain account of our options that when combined with maximalism results in a theory that accommodates the idea that a moral theory ought to be morally harmonious—that is, ought to be such that the agents who satisfy the theory, whoever and however numerous they may be, are guaranteed to produce the morally best world that they have the option of producing. I argue that, for something to count as an option for an agent, it must, in the relevant sense, be under her control. And I argue that the relevant sort of control is the sort that we exercise over our reasons‐responsive attitudes (e.g., our beliefs, desires, and intentions) by being both receptive and reactive to reasons. I call this sort of control rational control, and I call the view that φ‐ing is an option for a subject if and only if she has rational control over whether she φs rationalism. When we combine this view with maximalism, we get rationalist maximalism, which I argue is a promising moral theory.

To the problem of moral harmony

To the problem of moral harmony

To the problem of moral harmony

To the problem of moral harmony

Cooperation, ‘Ought Morally’, and Principles of Moral Harmony

There is a theory that one ought morally to do the best one can, when ‘best’ is suitably interpreted. There are also some examples in which, although every agent involved does the best she can, the group composed of them does not. Some philosophers think that these examples show the theory to be wrong. In particular, they think that such examples motivate a view which incorporates a requirement of cooperativeness in a particular way, though they disagree as to the exact nature of this requirement. This paper will argue both that such views are problematic and that the examples do not motivate departure from the original theory.

Play and Pirandello's Il giuoco delle parti

Play and Pirandello's // giuoco delle parti Jerome Mazzaro Audiences of Luigi Pirandello's major dramas are invariably faced with the word giuoco or "play" in the course of dramatic actions. In Sei personaggi in cerca d'autore (1921), Enrico IV (1922), and / giganti della montagna (1937), for instance, giuoco is used to refer to the ability of children to externalize the wonder within them and to believe in its reality at the same time that they recognize its disguises. The word is also used to oppose theatrical acting and illusion that, for various reasons, do not always succeed in enlisting the same degree of belief which children at play possess and which can border on madness. // giuoco delle parti (1918) and Come tu mi vuoi (1930) add to these uses the idea that games involve risk. They are played to decide winners and losers, and one ought to be careful not to become an actor or pawn in another's personal construct. In On Humor (1908), giuoco becomes what Friedrich Schiller calls Spieltrieb in On the Aesthetic Education ofMan (1795). It is that blending of man's sensuous nature and material impulse with his reason and formal impulse, considered by Schiller to be the goal of humanity. In acknowledging Schiller's concept, Pirandello dismisses Friedrich Schlegel's exaggeration of its divorces from necessity into "irony" or play-for-its-own-sake. He cites Johann Fichte's belief that, in creating universes "by the spirit, by the Self," individuals do not seek isolation but "submit to the will of the whole" and "strive for the highest degree of moral harmony." Opposed in the process is Schlegel's sense of one's never allowing these creations to have the whole-hearted identifications which children or the Father of Sei personaggi and Cotrone in / giganti demand. The individual remains "fully aware, even in the moments of pathos, of the unreality of his creations" and laughs at those who are drawn into the deception as well as those who, like Salter in Come tu mi vuoi, devote their lives to playing.1 453 454Comparative Drama Nowhere are these differences between Schiller and Schlegel more fully explored and exposed by Pirandello than in // giuoco delle parti and the two short stories from which it evolves. AU three examine the social conventions of marriage, honor, and dueling from the vantage point of a surplus of food, shelter, income, and leisure, and, in doing so, they not only exhibit Schiller's belief that "as long as necessity dictates and want impels, imagination is bound with strong chains to the actual" but also test popular literary conventions by which audiences know that what they are experiencing is fiction rather than reality . Historians point out, for example, that by the turn of the century the dueling on which all three works turn had become more common in novels and dramas than in life—despite the nearly three thousand duels which had been fought in Italy during the decade from 1879 to 1889.2 Similarly, the liberated wives and battles of the sexes which occur are more typical of literary high comedy than of Italian life and law. So, too, despite being perhaps closest to life, the questions of honor involving their husbands and their challengers are so exaggerated as to feed into contemporary efforts to outlaw dueling. In the earliest of the treatments, "Acqua amara" (1903), events which lead to the end of Bernardo and Carlotta Cambié's marriage are recounted. As told by Bernardo, Carlotta resembles her counterparts in "Quando s'è capito il giuoco" (1913) and // giuoco. She is liberated and, if not the equal, the wealthier and more forceful of the pair, and her efforts to secure Dr. Loero as a lover are expressed in theatrical terms ("commedia"). However, in the doctor's military background, her insistences on a challenge, the husband's complete unfamiliarity with dueling, and the contrived offense triggering the challenge there are indications of the same conspiratorial effects as giuoco in the other works. "Acqua amara" is told in first person after a distance of thirteen years and the formation of a defensive armor from years of domination, marital discord, and gossip...

Lope de Vega’s and Webster’s Amalfi Plays

Lope de Vega’s and Webster’s Amalfi Plays John Loftis Few Spanish and English plays offer more attractive subjects for comparative study than Lope de Vega’s El mayordomo de la Duquesa de Amalfi and John Webster’s The Duchess of Malfi, plays with a common source in a novella by Matteo Bandello and yet having resemblances to each other that cannot be ex­ plained by reference to that source. Here are two major dram­ atists transforming the same Italian story into tragedies repre­ sentative of their national dramas. Webster’s play is as highly prized as any non-Shakespearean tragedy of the Jacobean era. Lope’s tragedy is good, though it is not in the first rank of the enormous corpus of his drama. Had it been written by a less prolific man, it would no doubt have attracted more attention.1 Webster’s is a play in which concern for family honor provides a driving force. The Spanish drama is known for its preoccupa­ tion with family honor. How does Lope treat the subject in his play? Webster’s Duchess is remembered for her defiance of her brothers. How does Lope’s Duchess respond to her brothers? Some Anglicists have expressed doubt that the Spanish drama­ tists of the Golden Age wrote plays that are properly considered tragedies. So prominent a scholar as Clifford Leech, for example, concluded an essay of 1950 on the Spanish and English dramas with the following paragraph: But, because of the general maintenance [in Spain] of the three-fold division of dramatic thought—religion, honour, and cloak-and-sword—the tragic spirit hardly existed. That comes when the world oppresses through its very lack of pattern, when the resolution of the individual alone withstands the erratic light­ ning: tragedy or a helter-skelter into the abyss can then equally be the result, according to the degree of the resolution. The JOHN LOFTIS is Bailey Professor of English Emeritus at Stanford University, and is the author of a dozen books, including The Spanish Plays of Neoclassical England (1973). 64 John Loftis 65 Elizabethans and Jacobeans knew both, but Spain’s ark of cove­ nant with its god survived the Armada.2 Tragedy in Spain, just as in England, assumed varied forms that do not lend themselves to accurate generalization. Yet distinctions can be made between the places of tragedy in the dramas of the two nations. In England the best and best-known of the serious plays, by Marlowe, Shakespeare, Webster, and Ford, are tragedies. They frequently include comic interludes, often as in The Duchess of Malfi interludes that intensify the grotesque horror of the primary action. But they end in cata­ strophe. In Spain, on the other hand, the best and best-known serious plays, with important exceptions such as Lope’s El caballero de Olmeda and Calderon’s El principe constante, are not tragedies but tragicomedies. Not infrequently they depict grave moral crimes and violent death (in Calderon’s El alcalde de Zalamea, for example), but they do not end in catastrophe for one or more protagonists; rather in the reestablishment of social and moral harmony. In Spain there may not be more tragicomedies in proportion to the total number of plays than in England,3 but the mixed genre itself is more important. It is worth recalling that the most famous of all Golden Age plays is a tragicomedy, Calderon’s La vida es sueho. Clifford Leech in the passage quoted above refers to the “general maintenance [in Spain] of the three-fold division of dramatic thought—religion, honour, and cloak-and-sword. . . .” Cloak and sword plays, about the love intrigues of unmarried couples, are comedies and are not relevant here. Plays about honor as exemplified by El mayordomo will be a central pre­ occupation of this essay. Leech’s emphasis falls on religion as impediment in Spain to the production of tragedy. I assume he refers, not to the autos sacramentales (a form of religious drama in which the Spanish were unsurpassed), but to the comedia, that is, the secular drama. Calderon’s El principe constante, one of his best plays, provides an example of Christian faith inhibiting a...

The Principle of Moral Harmony

The Principle of Moral Harmony

Utilitarianisms

Previous articleNext article No AccessDiscussionUtilitarianismsGerald BarnesGerald Barnes Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Ethics Volume 82, Number 1Oct., 1971 Article DOIhttps://doi.org/10.1086/291829 Views: 3Total views on this site Citations: 11Citations are reported from Crossref Copyright 1971-1972 The University of ChicagoPDF download Crossref reports the following articles citing this article:John Pittard Evil and God's Toxin Puzzle, Noûs 52, no.11 (Jun 2016): 88–108.https://doi.org/10.1111/nous.12154, Shams Ul Huda Action without Planning: A Preliminary Liver Transplantation, i-manager’s Journal on Nursing 5, no.11 (Apr 2015): 1–4.https://doi.org/10.26634/jnur.5.1.3490Moran Yemini Conflictual Moralities, Ethical Torture: Revisiting the Problem of “Dirty Hands”, Ethical Theory and Moral Practice 17, no.11 (May 2013): 163–180.https://doi.org/10.1007/s10677-013-9429-0Brian Kierland Cooperation, ‘Ought Morally’, and Principles of Moral Harmony, Philosophical Studies 128, no.22 (Mar 2006): 381–407.https://doi.org/10.1007/s11098-004-7789-yMichael J. Almeida Collective Rationality and Simple Utilitarian Theories, Dialogue 33, no.33 (Apr 2010): 363–376.https://doi.org/10.1017/S0012217300039019Michael J. Zimmerman Cooperation and doing the best one can, Philosophical Studies 65, no.33 (Mar 1992): 283–304.https://doi.org/10.1007/BF00354614Michael S. Moore Torture and the Balance of Evils, Israel Law Review 23, no.2-32-3 (Feb 2016): 280–344.https://doi.org/10.1017/S0021223700016757Fred Feldman Individual Obligation and Group Welfare, (Jan 1986): 147–178.https://doi.org/10.1007/978-94-009-4570-8_7 Bart Gruzalski The Defeat of Utilitarian Generalization, Ethics 93, no.11 (Oct 2015): 22–38.https://doi.org/10.1086/292402 John Chandler Act-Utilitarianism and Collective Action, Ethics 84, no.11 (Oct 2015): 78–85.https://doi.org/10.1086/291905Íñigo Álvarez Gálvez Bibliografía, (): 387–395.https://doi.org/10.5211/9788496780842.ch9

Lohenstein’s Protagonists

Lohenstein’s Protagonists

The War and the PeaceCondition of Peace. Edward Hallett Carr

Previous articleNext article No AccessDiscussionThe War and the Peace Condition of Peace. Edward Hallett Carr Quincy WrightQuincy Wright Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Ethics Volume 53, Number 1Oct., 1942 Article DOIhttps://doi.org/10.1086/290322 Views: 1Total views on this site PDF download Crossref reports no articles citing this article.