Perfect Reality Research Articles

The Use of Realıty in Narratıves from the Truman Show to the Westworld

The Truman Show, as a 1998 film, set a touchstone in the world of cinema by telling the desperate situation of an individual who was lost in the reality built by the media and his realization of this, which led him to try to push the boundaries of fiction. Nowadays, narratives are challenging ways and limits of producing alternative reality instead of seeking and questioning reality itself. Making the preferred world more real by producing the desired reality in new media such as virtual-hyper-simulation-simulacra has become the main goal. Interactive video games, digital theater performances, virtual reality generating tools and equipment have become integral elements of this new reality. In the Truman Show, the disappointment of the hero who realizes that he is a puppet of a fictionalized world has been replaced by heroes who demand a new and more perfect reality that is fictional. What is needed is not “reality” but more “virtual reality.” Instead of seeing this as a denial of reality, they perceive it as a preference for their own story since the world is already fictionalized. In today's TV series like Westworld, characters that have no hope of reality and prefer virtual reality are becoming widespread. In this study, the concepts of simulation and simulacra that construct virtual and augmented reality will be examined in company with theoretical and conceptual literature with the help of the film Truman Show and TV series Westworld.

Business and Human Rights: Key Issues for Legal Theory

Just like the fight against discrimination or other injustice in its time, the sphere ofbusiness and human rights goes through the same stages: the experience of injustice is accumulated –a demand for release from the problem is formed, a demand for a more perfect reality – a requestfor new regulation arises.The article discusses the key issues for the theory of law, conditioned by the formation of thisnew reality. The starting point for consideration is the question of business as a direct addressee ofhuman rights requirements, that is, the operation of human rights without mediation by the state,since one of the defining reasons for the emergence of public expectations, embodied in the conceptof business and human rights, was the inability or in some cases of deliberate unwillingness of thestate to ensure corporate respect for human rights. This, in turn, raises the question of the powerinfluence of business on human rights and the need to revise the concept according to which privateactors in their relations are equal. The imperious nature of the influence of business also means thatthere is a revision of the social contract, the parties to which were previously considered society andthe state, and therefore the need to legitimize such power of business, substantive and procedural. Even in a situation where the state exercises effective control over the business operations, therequirement of legitimation is relevant, since there is a space free from state legal regulation. Objectively,the state cannot (and should not) regulate all aspects of the functioning of economic entities; thespace for self-regulation always remains. Business, by understanding its internal processes, is betterable to identify risks to human rights and minimize them. The state can only react to the violationof human rights that has occurred.The demand for business to fulfill its human rights obligations is particularly heightened ina situation where government control over its activities is absent or ineffective. Such situations arepossible in the case of a weak nature of state power or its inconsistent policy in the field of humanrights (in particular, investment projects may not be assessed by the state in terms of their impacton human rights) or in a situation of an undemocratic political regime, when the state itself violateshuman rights. and business is directly or indirectly involved in such violations. It is also possible thatthe state does not have sufficient leverage over business. Transnational corporations are a classicexample of this situation. The lack of effective state control can also be explained by the oligarchicstructure of the economy.Accordingly, the concept of business and human rights, being a response to modern challenges of“unfair social experience”, forces us to reconsider the classical views on the addressees of human rightsdemands, the mechanism of operation of the rule of law, the requirements of which should applyto private actors and, in general, to reconsider the social contract taking into account the significantimpact that business has on the organization of life in modern society.

Auf Nichts gebaut

Nishida Kitarō (1870–1945) is considered by many as the most important 20th century Japanese philosopher for his ability to employ modern concepts and terminologies, and use them to construct a unique system carrying a distinctly East Asian flavour. In this system, the notion of nothingness plays a fundamental part both in terms of epistemology and ontology. While this conceptual choice was also inspired by Buddhist sources, Nishida also drew on the theoretical philosophy of Hermann Cohen to elaborate, how nothingness could function as both the guarantor of unity and generator of plurality. Close analysis, however, shows that Nishida’s appropriation of Cohen’s concept of the me on as a necessary feature in the „logic of pure knowledge“ sheds the constraints carefully put in place by Cohen. As becomes evident in a comparison between both thinker’s analysis of sensation, Nishida’s unrestricted use of Cohen’s terms collapses precisely those distinctions that give sensation its meaning in the rational assessment of reality. This leaves Nishida’s concept of reality without the critical potential to distinguish between different kinds of normativity and their inter-subjective validity. Nothingness, as Nishida uses the term, is not a logical concept, but functions as an aesthetic symbol invoking sublime ideas of a perfect reality that is one and whole, and at the same time rich and diverse.

UNDERSTANDING AND PERCEPTION OF THE CHARACTER IMAGE BY PRIMARY SCHOOLCHILDREN IN THE PROCESS OF TEXT INTERPRETATION

Modern literature research works practically assert that literature is a way of thinking in imagery, and the interpretation of art works is almost always the interpretation of imagery, in other words perfect reality. Psychologists confirm that educational process in primary school should be formed on the account of both present and potential abilities of the children. Literature is an important means of pupils’ development. in grades 1 − 4 promotes the development of children’s positive moral and will-power qualitie. With its help children perceive the world, learn to understand and love beautiful things. The writer’s ideological content of a piece of literature can be revealed in images. The main objective of text interpretation in grades 1 − 4 is to promote pupils’ perception and comprehension. Nowadays the changes in educational sphere require more attention to the issue of literary perception. In 2011, primary school changed the training course of Reading into Literary which aims at the development of the following reader’s qualities: to be capable to independent reading,to perform different communicative and creative activities. However, the educational process observation showed the existence of problems in young learners’ perception and understanding of literary art, and especially the role of character and its images. Today, the methodology pays attention to the quality of the perception, its depth and awareness. The efficiency level of children’s literary work perception is set on the analysis of readers’ activity results. Difficulties in the determination of the literary work perception level lie in various interpretations, complexity of the perception process, necessity to reflect different sides and emotions of imagination and thinking. Many scientific works are devoted to the analysis of literary texts understanding, to the role of visual images and imagination in literary text understanding. Numerous scientific researches suggest that the perception and understanding of literary works comes with the acquisition of certain knowledge about the author’s creative work, composite structure of the work, its genre characteristics, etc. However, at primary school the peculiarities of learners’ age development can become a complication. Psychologists and educational sphere workers, first of all, determine the fragmentation, lack of perception integrity of the children’s literature by the child, dependence of this process on child’s life experience and connection with practical activity. For young learners it is difficult to understand the motives and actions of the characters, relations with other characters, their goals and aspirations. At the lessons of literary reading, the teacher should help children to experience together with the character the event, to cultivate the ability of careful analysis of the text, to evaluate objectively the text and to express their attitude to it.

Transformacja kosmosu w literaturze międzytestamentalnej

W literaturze międzytestamentalnej, zwłaszcza w pismach o charakterze apokaliptycznym, pojawia się motyw transformacji kosmosu, który stanowi ostatni etap wydarzeń eschatologicznych. Świat skażony grzechem i zdominowany przez siły zła zostanie w czasach ostatecznych przemieniony i odnowiony przez Boga w rzeczywistość doskonałą, gdzie na wieki panować będzie sprawiedliwość i dobro. W niniejszym opracowaniu zostanie omówiona koncepcja transformacji kosmosu, która pojawia się w różnych dokumentach należących do literatury międzytestamentalnej, mianowicie w dziełach egzegetycznych, gdzie pojawiają się również elementy apokaliptyczne (Księga Jubileuszów: Jub 1,29; 4,26; Księdze starożytności biblijnych Pseudo-Filona: LAB 3,10), w zwojach z Qumran (Reguła zrzeszenia: 1QS 4,25) oraz w apokalipsach (Księga astronomiczna: 1 Hen 72,1; Apokalipsa tygodni: 1 Hen 91,14-17; Apokalipsa zwierząt: 1 Hen 90,37-38; Księga przypowieści: 1 Hen 45,4-5; Czwarta Księga Ezdrasza: 4 Ezd 7,28-31.75.113-114; Apokalipsa Barucha syryjska: 2 Bar 32,1-6; 57,1-3).

Poetic Lithuania of Miłosz

The article deals with the images of Lithuania found in Czesław Miłosz’s poetry. The novels and essays have only been used to confirm the conclusions drawn from the interpretation of selected poems. Despite the frequently-declared unwillingness of the author of Dolina Issy (The Valley of the Issa) to accept and use any autobiographical elements in literature, the land of his childhood has always been present in all the poet’s works. The explanation of this fascination with nostalgia seems to be unsatisfactory. The author of the article perceives the poetic images of Lithuania created by the uprooted immigrant as a symbol of his inner, not purely geographical, settlement. The subject of the discussion is the ever-changing perception of the Eastern-Borderland, which corresponds to particular stages of the protagonist’s journey through life. The starting point is the experience of eviction. It modifies the originally idealized vision of the “little homeland” and makes the hero’s attempt to reject or “amputate” it. The poems from the Światło dzienne (Daylight) collection surprise the reader by a hostile attitude towards the poet’s youth spent in Lithuania and the perception of those early memories as some destructive forces threatening the artist. It is only after a many years’ quest that the borderland heritage is appreciated and conquered again. Now, however, it acquires a different, more symbolic form. The cycle Miasto bez imienia (A Town without a Name) and the poem Gdzie wschodzi słońce i kędy zapada (Where the Sun Rises and Sets) are evidence of a gradual transformation. The faithful recreation in the poet’s memory of particular places and people changes into the construction of some outside religious space, built from the traces of the real world. Lithuania changes into a perfect reality, a Super-Land, capable of retaining the past and combining it with the present. It is a prop freeing the poet from the waste land of Urizen.

MEMBENTUK KARAKTER SISWA MELALUI METODE KISAH QURANI

As direct practitioner, teachers have important role to understand and implement educational character in perfect reality. Teacher as curriculum practitioner required to understand educational character and have extensive knowledge about the method of planting character to the students. By listening a story will make them forming the visualization. Then, they will imagine the characters and situations in the story, then appearance in their hearts. This can inspire students to do something like that already made as in their hearts. Based on these, teachers need to select exemplary stories which can carry a positive message to the students, and Qur’anic story or the story from Al-Qur’an is the best story in the world. It has adopted good, exemplary, and islamic story. Qur’anic story in learning offers the solution to shape the students’ character especially in PAI subject. The story is able to make teachers and students have closer relationship as well as balancing television show. The implementation of Qur’anic story method in the PAI learning can be done by integrating

Spinozan Realism

This essay argues that the critically neglected work of the American mid-twentieth-century writer Jane Bowles is a rare attempt at realism in modern fiction that takes as its metaphysical premise the reality referred to in Spinoza’s pronouncement, “By reality and perfection I understand the same.” Bowles’ innately allegorical fiction is an effort to reveal the perfect reality of the world by prophetically creating the future rather than mimetically preserving the present and recovering the past, expressing a world that is existentially founded rather than representationally endured. The realism of perfection her prophetic creations strive to apprehend serves as a necessary reproof of the all too actual world reflected in merely mimetic fiction.

THE SPIRITUAL SEARCH OF ART OVER ISLAMIC ARCHITECTURE WITH NON-FIGURATIVE REPRESENTATIONS

Art behind Islamic architecture actually based on geometric patterns, developed through a continuous practice<br />over the centuries after centuries by the influences of various earlier cultures such as Greek, Roman,<br />Byzantine, Central Asian and Persian. Basic shapes like squares and rectangles play significant role in Islamic<br />architecture.The reason is, it might recall the principles that govern the order of the world- ‘Purity’, could<br />only be resembled by pure forms. The façades built by rectangular bricks tend to shape the built form in<br />regular modules. This brickwork casts shadows in strong desert sunlight and creates a three-dimensional effect<br />as light is welcoming message from the Devine source, as it is regarded in all religions. In addition, various<br />pointed starry patterns are common practice and get extremely complex when the outer points are joined<br />together and intersections are connected in a systematic way. Another mode is based on organism of floral<br />forms which recalls the feminine nature of life giving. Again, nobody will argue about the contribution of<br />calligraphy is the most patronized art for decoration. Why have Islamic world choose this universal phenomena?<br />As Allah’s creation is pre-decided, the credit of all creativity belongs to the almighty. Also to his messenger,<br />the holy prophet; who taught us to think in this way. The world is only a shadow of real world; here man is on a<br />bewildered search. May be their firm belief; what man can perceive, can only discover the geometric forms to<br />constitute designs which were already existed before in the ‘real world’. Discovered geometric forms,<br />therefore, tries to exemplify that perfect reality because creation of Allah has been obscured by the sins of<br />mankind- Art of the complete surrender.

Los tres tiempos de Miguel Hernández: escritura e ideología

Este estudio pretende mostrar, aplicada a la obra de Miguel Hernández, la relación entre tiempo histórico, escritura e ideología: cómo la ideología de un escritor, o de un artista, entendida ésta como el conjunto de sus respuestas prácticas a los sucesos del tiempo material histórico en que vive, condiciona inevitablemente el desarrollo, el alcance y la naturaleza de su escritura –o de su obra– de un modo práctico, material y comprobable en términos críticos. Esto es –para entendernos–, que incluso el «valor estético» –formal o estrictamente literario–, entendido éste en su significación más clásica, se vincula y viene a estar condicionado –positiva o negativamente– por la ideología de los autores; pues son las ideologías finalmente las que escriben y crean los textos y los objetos artísticos.

Poetycka Litwa Miłosza

The article deals with the images of Lithuania found in Czesław Milosz’s poetry. The novels and essays have only been used to confirm the conclusions drawn from the interpretation of selected poems. Despite the frequently-declared unwillingness of the author of Dolina Issy [The Valley of the Issa] to accept and use any autobiographical elements in literature, the land of his childhood has always been present in all the poet’s works. The explanation of this fascination with nostalgia seems to be unsatisfactory. The author of the article perceives the poetic images of Lithuania created by the uprooted immigrant as a symbol of his inner, not purely geographical, settlement. The subject of the discussion is the ever-changing perception of the Eastem-Borderland, which corresponds to particular stages of the protagonist’s journey through life. The starting point is the experience of eviction. It modifies the originally idealized vision of the „little homeland” and makes the hero’s attempt to reject or „amputate” it. The poems from the volume Światło dzienne [Daylight] surprise the reader by a hostile attitude towards the poet’s youth spent in Lithuania and the perception of these early memories as some destructive forces threatening the artist. It is only after a many-years’ quest that the borderland heritage is appreciated and conquered again. Now, however, it acquires a different, more symbolic form. The cycle Miasto bez imienia [A Town without a Name] and the poem Gdzie wschodzi słońce i kędy zapada [Where the Sun Rises and Sets] are evidence of a gradual transformation. The faithful recreation in the poet’s memory of particular places and people changes into the construction of some outside religious space, built from the traces of the real world. Lithuania changes into a perfect reality, a Super-Land, capable of retaining the past and combining it with the present. It is a prop freeing the poet from the waste land of Urizen.

Danger

At first glance, philosophy of might seem to be an unproblematic discipline. However, closer inspection reveals that philosophers and religious people often seem uneasy when confronted with subject. That uneasiness, one suspects, is due to fact that philosophy of poses a threat to our accepted notions of philosophy and religion-a threat that lies in ambiguity of genitive. The philosopher suspects that philosophy of is religious philosophy, a disguised and apologetics that threatens objectivity of philosophy. The religious person, on other hand, suspects that philosophy of is philosophy about religion, an intrusion into by outsiders (i.e., unbelievers) that threatens sanctity of religious belief and practice. In following, I want to explore threat posed by philosophy of and argue that should embrace ambiguity of genitive and danger that poses to philosophy and religion. Indeed, as philosophers of have no choice but to embrace this ambiguity if are to be true to philosophy, religion, and philosophy of religion. The danger of philosophy of is acknowledged in one of two ways. One way involves a kind of repression and avoidance of threat. Thus on opening page of his An Introduction to Philosophy of Religion (2nd edition, Oxford, 1993) Brian Davies tells us that it is difficult to say exactly what philosophy of is, noting that difficulty lies in characterizing both philosophy and religion. Rather than pursuing this insight, he goes on to tell us that he will attempt perilous of defining philosophy of religion (ix) and then proceeds to introduce us to subject. Here Davies, like a few other philosophers of religion, is dealing with problem and threat posed by philosophy of by not dealing with it. However, avoidance and repression generally are not healthy ways of coping with problems; they lead to more problems. Thus William Wainwright, for instance, also foregoes any definition, though he has some very definite ideas about what philosophy of should be covering. He seems to assume that philosophy of is equivalent to (whatever that is) and consequently jumps right into an argument about maximally perfect reality,1 despite fact that there are religious traditions (e.g., Buddhism, Confucianism, Daoism) that cannot be said to be doing theology (i.e., investigating logic ofGod) or are not concerned with a maximally perfect reality. If philosophers of such as Davies and Wainwright refuse to define what is they are doing, they leave themselves open to suspicion that they have a hidden agenda, or have made assumptions that will not survive light of day. Of course, more often than not philosophers of do undertake the perilous task of defining philosophy of religion. Yet they too acknowledge threat posed by philosophy of (albeit indirectly) by characterizing in such a way as to put everyone at ease. A good example can be found at beginning of John Hick's popular introduction to Philosophy of Religion (4th edition, Prentice-Hall, 1990). On opening page of that work, Hick confidently proclaims-with emphasis-that we may reserve name `philosophy of religion' for what (by analogy with philosophy of science, philosophy of art, etc.) is its proper meaning, namely, philosophical thinking about religion (1). The definitionsenerally accepted and/or echoed in other treatments of subject2-is bound to be comforting to both philosophers and religious persons. But definition (and those like it) does not do justice to philosophy, religion, or philosophy of religion, either in theory or in practice. One of first things to note about Hick's definition is that somehow places philosophy outside religion. …

Vision without inversion of the retinal image.

Seventh Day.—In the morning the flow of ideas while I was blindfolded was like that described for the evening before. But I noticed in bathing that the old representation of those parts of my body which I had so frequently seen ( at least in their clothing) during the experiment, was decidedly less vivid, the outline more blurred, the color paler, grayer, more ' washed out,' than of the parts which had never come within the limits of the visual field. Later, with my lenses on, it seemed at first as if the experience was in all respects the same as on the previous day. But when I began to pace rapidly up and down the room, I felt that I was more at home in the scene than ever before. There was perfect reality in my visual surroundings, and I gave myself up to them without reserve and without being conscious of a single note of discord with what I saw. This feeling of complete harmony throughout, lasted as long as I kept my legs either within or near the borders of my field of view. Otherwise the older, inappropriate representation of my body arose at times, but faded, while the new representation revived, as soon as some passing object was seen to enter the region into which the older image of my body extended. The absence of any tactual experiences such as a real body in that position would imply, cast, for the moment, an illusory character over the older form of representation. To what extent objects in view suggested the idea of other things in harmonious relation with the seen things is best shown by the following cases: As I walked into my bedroom and saw the bedstead, I involuntarily thought of the windows, repre1 Concluded.

Vision without inversion of the retinal image.

Seventh Day.—In the morning the flow of ideas while I was blindfolded was like that described for the evening before. But I noticed in bathing that the old representation of those parts of my body which I had so frequently seen ( at least in their clothing) during the experiment, was decidedly less vivid, the outline more blurred, the color paler, grayer, more ' washed out,' than of the parts which had never come within the limits of the visual field. Later, with my lenses on, it seemed at first as if the experience was in all respects the same as on the previous day. But when I began to pace rapidly up and down the room, I felt that I was more at home in the scene than ever before. There was perfect reality in my visual surroundings, and I gave myself up to them without reserve and without being conscious of a single note of discord with what I saw. This feeling of complete harmony throughout, lasted as long as I kept my legs either within or near the borders of my field of view. Otherwise the older, inappropriate representation of my body arose at times, but faded, while the new representation revived, as soon as some passing object was seen to enter the region into which the older image of my body extended. The absence of any tactual experiences such as a real body in that position would imply, cast, for the moment, an illusory character over the older form of representation. To what extent objects in view suggested the idea of other things in harmonious relation with the seen things is best shown by the following cases: As I walked into my bedroom and saw the bedstead, I involuntarily thought of the windows, repre1 Concluded.