Spiritual Content Research Articles

PENATALAYANAN MEDIA SOSIAL DARI PERSPEKTIF JEROME POLIN

This research aims to ensure that the content or information available through social media is beneficial to its users, whether it is constructive or not, and whether it is useful or not. It requires social media content creators to be creative and adaptive, so they can generate something positive, good, and relevant for users. The method used in this research is qualitative, with literature review and observation. The findings reveal that, as disciples of Christ, as those who have been justified, and as servants of Christ, it is proper to act wisely when using social media, so as not to fall into the misuse of social media for things that are disgraceful and evil in God's sight, and to be a blessing to others through social media. It can be concluded that through collaboration, the variety of spiritual content becomes more complete and complementary, catering to both children and adults, discussing issues of body, soul, and spirit in humans, and expanding knowledge of true teachings to inspire many and be a blessing.

Psalm No.8 in Ukrainian Choral Music of the Late 20th – Early 21st Centuries: Analysis of Composer Interpretations

The purpose of the article is to identify the distinctive features of the embodiment of the spiritual content of Psalm No. 8 in the choral works “Lord, Our Master” by Yevhen Stankovych and “Psalm No. 8” by Oleksandr Yakovchuk. The research methodology is based on an interdisciplinary approach that includes historical-cultural, religious-philosophical, textual, and musicological aspects. The methods employed include historical, sociocultural, textual, musicological, interpretative, and comparative approaches. Scientific novelty. For the first time, different interpretations of the spiritual content of Psalm No. 8 in contemporary Ukrainian choral music are considered. Based on a comparative analysis of Y. Stankovych’s choral concert “Lord, Our Master” for mixed a cappella choir and O. Yakovchuk’s choral miniature “Psalm No. 8” for solo tenor and male a cappella choir, distinct and common features in the figurative-emotional, dramaturgical, and stylistic aspects of these works are revealed. Conclusions. It was found that the composers revealed the figurative-emotional, substantive, and semantic potential of the psalm text in different ways. The differences in interpretation concern the choice of genre, performance ensemble, text selection, embodiment of figurative content, emotional filling, and textural techniques. The common features of both works are manifested in the use of a cappella choir, a tendency towards harmonic colourfulness, the organic combination of chordal structure, imitative polyphony techniques, and folk polyphony. It is proven that the concept of the choral concert implied an elevated, solemn sound, while the choral miniature aimed for deep meditative concentration in prayer.

Application of Chinese Ethnic Minority Themes in Contemporary Figurative Sculpture Creation

In the field of contemporary sculpture creation, the rich culture and historical depth of Chinese ethnic minorities have attracted the widespread attention of artists. These creations not only emphasize external features such as ethnic costumes, totems, or life scenes but also touch deep spiritual contents including historical stories, religious beliefs, and living habits of ethnic minorities. This paper discusses the integration process of Chinese ethnic minority themes in figurative sculpture creation and the inheritance of the profound spirit of ethnic groups in this process. At the same time, this paper also places the diversified expression and innovative practice of these themes in sculpture art in the context of the new era for investigation and explores the far-reaching influence of its development on promoting cultural inheritance and artistic innovation.

Origen and Jerome as Exegetes of the Parables from the Gospel of St. Matthew - Elements in Common and Differences

The article is an attempt to examine the degree of dependency of Jerome’s exegesis of the parables from the Gospel of St. Matthew on the exegesis of the same texts by Origen. The primary sources are Jerome’s Commentary on the Gospel of St. Matthew written in 398 AD, when he was already an enemy of the Alexandrian, and Origen’s Commentary on the same Gospel. A detailed comparative analysis of the exegesis of the selected parables led to the following conclusions. The differences between the approaches of both authors are limited to three issues: (1) Jerome’s interpretations reflect the spirit of the post-Nicene period, marked by Trinitarian disputes; (2) The Stridonian dissociates himself from all associations with Origen’s dubious theological suggestions, such as the pre-existence of souls or apocatastasis, which can be noticed concealed in the exegesis of the Alexandrian; (3) Jerome’s comments are short and concisely convey the main spiritual meaning of the parables in question, but this difference in the length of comments is quite secondary. Despite the above differences the reliance of the Stridonian on the Alexandrian is significant. Jerome’s elaborations are very similar to those of Origen in terms of exegetic methodology and spiritual content extracted from the text of the Gospel. Even if Jerome does not accept all the solutions proposed by the Alexandrian, he is in constant dialogue with him and remains in his work an Origenist dependent on the allegorical orientation of exegesis.

Season and History

Abstract Landscape painting flourished in the late Tang dynasty and reached its peak during the Song dynasty. It means that the artistry of landscapes no longer serves as decoration for portraits, nor is it merely a backdrop for unfolding stories. Instead, it is a simple pursuit of the aesthetic pleasure derived from landscapes themselves. In this pursuit, the landscape painting of the Song dynasty had a profound impact on the subsequent development of landscape art, both in terms of form and the spiritual content expressed. It is not an exaggeration to say that Song dynasty landscape painting laid the foundation for the tradition of literati landscape painting. Guo Xi, a master of landscape painting and a painter-theorist in the mid-Northern Song period, actively explored his artistic practice. He also reflected on and summarized his methods. From the overall conception of the meaning of landscapes to the self-pursuit of brushwork style, Guo Xi endeavored to narrow the gap between abstract ideas and concrete execution. His efforts resonated with the Daoist philosophy of Neo-Confucianism in the Northern Song, transcending the dimensions of transcendental “essence” and personal “effort” to establish a connected path of nature, body, and destiny. From a different perspective, this also represents the interplay of cosmology and ontology through generative time.

N. V. Ustryalov’s aesthetic ant etatist patriotism

The relevance of the appeal to the concept of Homeland and patriotism by N.V. Ustryalov is determined by the similarity of the scale of cultural and political changes in the country and the world at the beginning of the 20th century and today. The concept of patriotism of the thinker was formed on the basis of an analysis of a specific socio-cultural situation and the formulation of its own definitions of categories such as "Motherland" and "state". The chosen methodology for analyzing his works combines the logical and philosophical method, the method of contextual analysis, and the method of comparative studies. As a result, it is proposed to give the concept of N.V. Ustryalov the name "aesthetic and etatist patriotism" and indicate its main provisions. Homeland is an aesthetic value, the form of existence of which, the state, combines the material and the social. Of the three components of the state, according to N.V. Ustryalov, the leading role belongs to the territory. Justifying his transition to the side of the Soviet government, the thinker points out that the actions of the Bolsheviks objectively contribute to the collection of the lands of the Russian Empire, and the national culture, including the culture of various nations, is being improved. Therefore, the Soviet state can legitimately be called a form of existence of the Motherland. Patriotism has qualities of aesthetic value, because it is truly human and aimed at affirming the beautiful, the priority of creative activity. The Ustryalov’s concept of aesthetic and etatist patriotism removes the contradiction between the high spiritual content of patriotism as a shrine and the utilitarianism of everyday tasks solved by social actors and it allows you to formulate specific criteria for people’s support for the authorities.

Development of Spiritually Charged Learning Media to Improve Learning Outcomes

Learning media development is an activity to create, improve, or improve the quality of learning information sources so that the desired learning objectives can be achieved. The development of learning media for Automation of Financial Management includes a processing process that involves all activities related to finance, making financial reports and achieving goals for the common good. The development of learning media with spirituality content is related to the profile of Pancasila students in the first element dimension, namely the dimension of faith, fear of God, and noble character, which teaches students to have good morals in relation to God. The problem in this study is how to develop learning media with spirituality to improve learning outcomes. The purpose is to find out the development of learning media with spirituality to improve learning outcomes at SMKS Ngunut Tulungagung. A research approach that conducts research, development, and testing of a product is called a research and development approach which produces certain products that are in accordance with the needs analysis. This research and development can test the effectiveness of the product so that the product can be useful for students. This research uses the Borg and Gall development model, which uses several stages for its development. The research uses the ASSURE approach with the steps needed to design and create an effective, efficient, and attractive teaching material. The results showed that (1) The first material expert validation received a score of 80, meaning good assessment, and the second material expert validation received a score of 93, meaning very good. (2) The first learning media expert validation received a score of 72, which means it is quite qualified, and the second learning media expert validation received a score of 83, which means it is good. (3) So the development of spiritually charged learning media with the One Day One Letter system can be used to improve learning outcomes. Keywords: Financial Governance Automation Learning Media, Spirituality, Learning Outcomes

Exploring the Tragic Aesthetics in Hamlet and the Differences with Traditional Chinese Aesthetic Views

Tragedy, as an important form of human art, transcends time and space with its profound emotions and noble spiritual content, becoming a carrier of cultural resonance around the world. In different cultural backgrounds, the aesthetics of tragedy presents a variety of styles. These differences are reflected not only in aesthetic orientation but also in expressive techniques and value pursuits. Hamlet, as a distinguished representative of Western tragedy, constructs a unique and magnificent tragic tableau through its deep psychological analysis, complex character development, and intense conflict. The complexity and contradiction of human nature are vividly displayed in this work. In contrast, traditional Chinese aesthetic concepts place more emphasis on harmony, balance, and inner beauty. This aesthetic orientation emphasizes the moderation of emotions and moral education, pursuing a restrained and implicit beauty. In traditional Chinese tragedies, characters are often more reserved and implicit, with more controlled and moderate emotional expression. Comparing the tragic aesthetics in Hamlet with traditional Chinese aesthetic views reveals significant differences in several aspects. This comparison helps us understand more deeply the art of tragedy under different cultural backgrounds, recognize the complexity and diversity of human nature, and profoundly appreciate the fragility and preciousness of life.

‘Reclaiming their stories’: A study of the spiritual content of historical cultural objects through an Indigenous creative inquiry

Developing methods for communicating, analysing, and interpreting the spiritual context of cultural objects is essential to gaining a deep understanding of the past. In archaeology, Indigenous methodologies in the field of creativity as an embodied exploration can enable archaeologists to understand how we perceive and interpret cultural information. This article examines how art making, within Indigenous cultures, serves as a powerful lens through which archaeological inquiries can be spiritually interpreted. This intricate relationship between art making and archaeological exploration provides a nuanced understanding of the spiritual significance inherent in historical relics. Its objective is to highlight Indigenous creative embodied methodologies, embracing a decolonised perspective that honours Indigenous worldviews. Serving as a bridge, it narrows the divide between creative craftsmanship and the field of archaeology.

Enhancing Quality of Life Through Thaharah Practice in Sunnah From al-Dihlawi’s Philosophy

Hygiene is critical for health and reflects one's character and societal advancement. Its inadequacy signals infectious diseases, notably in underdeveloped countries. A wholesome lifestyle, as delineated by WHO, encompasses physical, mental, and social well-being. The Prophet of the last semitic religion, Muhammad ﷺ stressed cleanliness as integral to faith. This paper scrutinizes the doctrine of taharah (purification) according to a well-known Muslim scholar, al-Dihlawi." He expounds on taharah in his book "Hujjah Allah al-Balighah, underlining both bodily and spiritual purity. He accentuates the correlation between external and internal cleanliness, pivotal for attaining spiritual contentment, thereby enhancing quality of life.

ВИЗНАЧАЛЬНІ ХАРАКТЕРИСТИКИ РАШИЗМУ ЯК КВАЗІІДЕОЛОГІЇ І ПРАКТИКИ НЕОТОТАЛІТАРИЗМУ

The defining characteristics of racism as a quasi-ideology and practice of neo-totalitarianism have been studied and systematized, taking into account the achievements of its predecessors. The changes that took place in the modern world in the space of classical and modern ideologies are characterized. The prerequisites for the formation and consequences of the introduction of racism are elaborated. Scientific approaches to the concept of «racism» are identified and compared. 7 key signs of racism are singled out and substantiated, which include: 1) intolerance to the culture and civilizational choices of other peoples, the use of the idea of a «Russian world» as a technology for uniting a supranational community of speakers and zealots of the Russian language and culture; 2) chieftainship, the cult of the national leader, which relies on special services and the police apparatus; 3) focus on the passivity of the masses, contempt for the individual, the imposition of hypertrophied collectivism, the use of administrative resources and systematic falsification of election results; 4) demonstrative messianic cynicism aimed at discrediting universal human values, democratic procedures and standards; 5) formation of state propaganda as a cynical and lying mouthpiece of the ruling regime; 6) hatred of dissenters, incitement of enmity, economic pressure, nuclear blackmail; 7) masquerading as anti-fascism, manipulative justification of the occupation and annexation of the territories of neighboring states, justification of the genocide of the Ukrainian people, the destruction of Ukrainians as a national community. A conclusion was made about the relationship between the emergence and development of new ideologies and social changes associated with the collapse of previous states and the emergence of new ones; by changing ideas about domination and submission, freedom and justice, the meaning of existence and vision of the future; large-scale crisis phenomena of political, economic, and spiritual content in the development of humanity.

Spiritual Succor or Sacrilege? British Catholic Responses to and Interpretations of Wagner’s Parsifal

Abstract: Scholarly knowledge about the interplay of Wagnerian opera and British church history has advanced on an uneven front and has yet to reach lofty heights. Relatively little has been published about how Parsifal , Richard Wagner’s final and arguably most religious opera, was perceived in the United Kingdom. The present study begins to fill that gap by investigating how a spectrum of British Catholics diversely debated such crucial themes as the extent to which Parsifal was a Christian work, the possible mimesis of the Mass in the Holy Grail scenes, the construction of the title character as a symbolic Christ figure, and whether the staging of this work, whose spiritual content was widely acknowledged, could appropriately be performed in a secular setting like the Royal Opera House at Covent Garden.

Duševné zdravie a výchovný potenciál výtvarného umenia v pregraduálnej príprave študentov

In the current concepts of pre-primary and primary education of the 21st century, it is possible to observe a turn of attention to a holistic approach in the educational goals of art education. Based on the concept of psychodidactics, the emphasis is on mental health, which is supported by educational forms such as spontaneous creation, or the development of synesthesia and fantasy. The holistic educational approach is also supported by the interdisciplinary nature of art education. In the paper, we will deal with how we develop these goals in the undergraduate training of teachers, simultaneously using the educational potential of art with an emphasis on spontaneity, gestural creation and spiritual content.

ИНСТРУМЕНТАЛЬНАЯ МУЗЫКА РУБЕЖА XX–XXI ВЕКОВ В ДИАЛОГЕ С ПРОШЛЫМ

The spiritual experience of the past plays a huge role in a person’s life and creativity. It is understood through the prism of the present, forming a dichotomy of memory and oblivion. The article examines the instrumental opuses of composers of the late XXth – early XXIst centuries, whose main theme is the desire to embody the artist’s unique ability to preserve a concept by borrowing “someone else’s word”. The original approaches of the composers are largely determined by the aesthetics of post- and metamodernism, which proclaim the rapid appropriation and mixing in one composition of traditions and styles, intra- and extramusical components, such as music, word and painting in a single composition. Postmodern authors are attracted by the ability to cross the border between the present and the past in memory, to unite the real and the sacred worlds, to collide the secular and the spiritual, the high and the low. The article attempts to systematise composers’ works with borrowings from the near and distant past through the theory of musical text developed by Russian musicologists. In this sense, unique examples of instrumental music of secular and spiritual content with and without quotations from our compatriots and contemporaries are considered. Particular attention is paid to understanding the reasons for composers’ appeal to the artefacts of the past, as well as to updating the principles and forms of intertextual interaction on the way to creating an original artistic world of the composition. The author raises questions aimed at studying the problem of dialogue between modern works and the past. The article is addressed to professional musicians, postgraduate students and specialists in the field of musicology.

Внебогослужебное духовное пение в российском культурном пространстве XVIII – начала XIX вв.

Out-liturgical spiritual singing in the 18th and early 19th centuries was represented by genres that were formed at various times. In this context the problem of identifying the mechanisms of adaptation of samples created in the previous period to the changed realities of New Age culture is of interest. On the example of spiritual songwriting of the inhabitants of the Old Believers' Vygo-Leksinskoye settlement, the peculiarities of the traditional genres that had developed earlier and appeared after the church schism are presented. The authors of these genres used artistic techniques typical of the New Age culture in their creation. The hook collections of verses that emerged in the Old Believers' environment contributed to the consolidation and spread of the repertoire. The enrichment of the artistic system of non-denominational spiritual singing in the 18th century with new samples was caused by the appearance of verse arrangements of psalms by V. K. Trediakovsky, M. V. Lomonosov, A. P. Sumarokov, and M. M. Kheraskov. The arrangements penetrated both the Old Believer performing environment and the musical life of the townspeople. Russian songs and romances became popular in home and salon music from the late 18th century, among which there are samples of spiritual content, as well as works that transform the spiritual text into sentimental love lyrics. As an example, M. V. Zubova's song "Ya v pustynyu udalyayus’ [I am going away to the desert]", created in 1770 on the basis of the psalm of the same name, is presented. In the context of the unfolding cultural dialogue between the capital and remote territories during the formation of the Russian Empire, the territorial distribution of samples of extra-liturgical spiritual singing is of interest. In the province, the traditions that had developed earlier were mainly preserved. Their main performer was Old Believers. The migratory nature of the Old Believer movement contributed to the geographical spread of works, which formed local specificity at the level of repertoire, principles of functioning, stylistics, and performing manner. Romances with a spiritual content, which emerged at the turn of the 18th–19th centuries, at that time sounded in the space of home and salon musicmaking in capitals and large cities. Later they would become widespread in the provinces, which would contribute to their further popularisation and repertoire enrichment.

Мунье Эмманюэль

The article is devoted to the work of Emmanuel Mounier (1905–1950), the founder and leading theorist of the philosophy of French personalism. The philosopher sees the purpose of his teaching in finding a way out of a deep civilizational crisis, in which, in his opinion, by the beginning of the twentieth century, human society found itself. He seeks to find ways to comprehend a qualitatively new civilization based on the effective priority of spiritual values. The central idea in the thinker's views is transcension as a fundamental property of a human personality, overcoming mechanistic connections and conditionalities and striving for "super-being". He also referred to the feeling of human community as the main characteristics of human existence: society was initially included in his definition of personality. The personalist philosopher attached special importance to art in the process of becoming a person. The ideas of personalism by E. Mounier and his associates (J. Lacroix, M. Nedonsel et al.) had a noticeable influence on the philosophical, sociological and aesthetic teachings of the twentieth century, orienting researchers to study the problems of the spiritual content of human activity, human communication, and human community. They became the theoretical basis of a number of areas of theological thought — theology of personality, theology of labor, theology of revolution, theology of liberation.

Strategi Pelayanan Misi Kontekstual Terhadap Generasi Z Yang Percaya Dengan Memanfaatkan Teknologi Informasi Dan Komunikasi

Generation Z's tendency to leave the church could occur when the church does not answer the needs and accommodate the generation’s perpectuve . Therefore, mission services to generation Z need to be carried out contextually, requiring services that suit their needs. Contextual mission services must develop the right "strategy" to reach generation Z. The method used is literature study observing books and scientific journals to support research writing. The main topic discussed is contextual mission strategy, where it is necessary to understand culture, Generation Z problems and services for Generation Z in utilizing ICT. Thus, three things were found in this research, firstly, sharing spiritual content via social media, because generation Z can spend quite a long time playing social media. Secondly, carry out spiritual activities online that attract attention creatively and innovatively. Finally, involve generation Z in service, so interest and appreciation might occur in the activities.

Vital rhythms of spiritual being in the foundations of canonical psychology

This article undertakes a methodological reflection of the concept of spirituality, which is ontophenomenally structured as a revealed aspect of human existence in the existential act of life. It emphasizes the interplay between noumenal and phenomenal forms in shaping the content of spirituality and their connection to the transcendental and existential dimensions of materiality. Spiritual phenomena are analyzed as concrete expressions of the existential substantiality of real human life, which prompt individuals (both intuitively and rationally) to feel the contradictions and doubts inherent in their existence, to place their own value accents, to make existential decisions, to perceive everyday life as a personal responsibility. Spirituality is considered a constantly renewed process of interaction between man and the world, occurring within the immediate unity of the transcendental (metaphysical and unknowable) and the immanent (natural and known). The core of an individual’s spiritual life, capable of integrating and focusing the potential for self-creation and serving as a source of self-motivation, is their inherent spiritual potential. This potential represents a person’s innate capacity for self-development and self-determination within the realm of motivational and value relationships, and it is an act-event of transcendence. The updating of this resource is a source of manifestation of a person’s spiritual testimonies. Its deployment, on the one hand, takes a person beyond the limits of the individual, and elevates it to transpersonal experiences, on the other hand, through self-reflection, directs it to the different world of its own inner world. From the perspective of the cyclical-action approach, the text delineates the attributive traits-qualities, groups of internal conditions, and dominant forms of self-organization within an individual’s psycho-spiritual potential. It is posited that the identified components of an individual’s spiritual potential (mental-experiential, cognitive-semantic, need-motivational, conative-volitional, spiritual-reflexive) constitute the substantial reality of the human spiritual world. Using cognitive-semantic components as an example, specifically spontaneity, intuitiveness, reflexivity, and creative activity, the text reveals a cycle for the unfolding of an individual’s spiritual potential. This cycle alternately visualizes the pre-situational, situational, motivational, active, and post-active aspects of supramaterial action.

Гневные божества «докшиты» в ранних песнях-шастрах монголоязычных народов

This article focuses on the early shastra songs of the Mongol-speaking peoples, offering insights into the wrathful deities referred to as “dokshita” in the Buddhist pantheon. Shastras are songs with spiritual content dedicated to the praise of the Teachings of Buddha, deities, clergy, Buddhist monasteries, pilgrimages, and similar themes. This study does not address the question of the origin of the wrathful deities. The author adheres to the assumption that Mongolian peoples borrowed them from Tibetan Buddhism. Archival and published materials serve as the source base for the study. A comprehensive characterization of the “dokshita” found in the early records of the shastra songs of the Mongol-speaking peoples is conducted using a descriptive method. Consideration is given to the etymology of the phrase “shastir duu.” A review of the sources with early texts of shastra songs of Mongolian-speaking peoples is presented. The history of the spread of Buddhism among Mongols, Buryats, and Oirats (Kalmyks) is examined. Six wrathful deities of the “dokshita,” namely Mahakala, Yamantaka, Hayagriva, Damdin Dorlik, Vajrapani, and Okon Tengri, are identified and described. For that purpose, folklore, lexicographical, and ethnographic materials, as well as Buddhist sutras and ritual texts, are examined. The analysis of song texts complements and expands the knowledge about “dokshita,” including their functions, appearance, location, attributes, mounts, and others. The present article makes a valuable contribution to the existing research on the characters of the Buddhist pantheon, both in Russia and abroad.

T. S Eliot's “The Wasteland”: A Spiritual Pilgrimage through Allusions

The purpose of this study is to explore the interconnectivity of different parts of the poem depicting the journey from social and individual barrenness of human ethics and morality to the proposed means of spiritual contentment in "The Wasteland" (1922) by T. S. Eliot. This most successful and intricate work of the author, reputed as an exemplary modern poem, portrays this journey in the form of allusions. This objective is achieved by applying the theory of intertextuality by Julia Kristeva in 1966. The extensive utilization of allusions in this poem, with references made to over thirty writers and an excess of one hundred allusions, imbues it with a substantial amount of intellectualism. Eliot employs a wide range of allusions in his literary technique, which proves to be highly effective in making the reader travel from spiritual emptiness to spiritual fulfillment. These portraits from religion, history, society, psychology, and other sources design a trail to let the reader experience spiritual realization.