Transcends Time Research Articles

Vanquishing Temporal Distance: Malraux, Art and Metamorphosis

How does art transcend time? What special power enables it to overcome temporal distance and speak to us not just as evidence of times gone by but as a living presence? The Renaissance concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief endorsed by Enlightenment aesthetics. Later thinkers such as Hegel, Marx and Taine stressed the historical embeddedness of art, a view also espoused by certain modern theorists such as Sartre, Benjamin and Adorno. The conflict between these two positions has left us without a persuasive account of art’s capacity to transcend time. Andre Malraux offers an entirely new account of this unique power of art. For Malraux, art is neither exempt from history (timeless) nor wholly immersed in it. Art transcends time through metamorphosis, a process of continual transformation in significance in which history plays an essential, but not exclusive, part.

Real Mysteries: Narrative and the Unknowable by H. Porter Abbott (review)

Reviewed by: Real Mysteries: Narrative and the Unknowable by H. Porter Abbott Daniel Chertoff H. Porter Abbott, Real Mysteries: Narrative and the Unknowable. Columbus, OH: The Ohio State University Press, 2013. x + 178 pp. H. Porter Abbott’s new book deals with the unknowable and unspeakable in literature, arguing that readers should try to overcome their urge to resolve ambiguities and uncertainties in literary texts: there are gaps that cannot be filled, minds that cannot be known, and ideas that will remain beyond our grasp. Even though “we are so constructed that simply to know of a gap is to try to fill it” (113), Abbot believes that “intentionally induced states of unknowing” (20) should be an integral part of the reading experience. In the first of the book’s three parts, Abbott introduces what he calls the “cognitive sublime” as a response to the unimaginable unknown. The discussion begins with theological matters — in particular, the influence of apophatic philosophy on Samuel Beckett whose obscure style impedes a narrativizing response and promotes the experience of unknowability. In so far as the self can be considered “a narrative construct” (40) readers have a stake in this process with respect to the conceptualization of their own selves. Abbott illustrates his points by contrasting pairs of literary works. In Part One he compares J. G. Ballard’s short story “The Drowned Giant” with Gabriel Garcia Marquez’s “The Handsomest Drowned Man in the World” in order to help the reader appreciate the differences between the communication among the characters and the text-reader relationship. Similarly, his discussion of Conrad’s Heart of Darkness and Tim O’Brien’s In the Lake of the Woods illustrates his thoughts on untold events in Part Three. Part Two, “Inexpressible States,” examines narrative syntax and “neural sport,” using concepts developed in neuroscience. It defines the idea of the “cognitive sublime” introduced in the first part — “textually induced experiences of non-comprehension that occur when the mind is directed toward an unimaginable unknown” — and argues that these experiences arouse “a state of unknowing that is available to us not only in our experience of certain texts but also in our condition as human beings” (65). The word “sublime” is loaded and, in the mind of the informed reader, activates the long heritage of the sublime stretching from Longinus through Burke to Kant. But there are also situations where the unknowable is entirely fabricated, as “a form of ‘neural sport’ — a deliberate jamming of our mental circuitry whereby we are cut adrift from deeply embedded ways of knowing and enter states of syntactical and narrative impossibility that abide only in our transaction with the text” (65). Abbott illustrates [End Page 175] these arguments with contrasting selections from Gertrude Stein and the films of Michael Haneke. A particularly engaging chapter discusses garden-path sentences, sentences which give the reader a direct experience of some of the effects under discussion. Because “we understand a sentence incrementally, that is, word by word, rather than exclusively as a whole” (67), garden-path sentences take an effort to decipher. Examples include: “Fat people eat accumulates” or “The old man the boat,” both of which require strategically placed commas for interpretation. These sentences provide some sense of the difficulty in keeping different interpretations in mind simultaneously. Surprisingly, Abbott does not mention Joseph Frank’s seminal 1945 essay “The Spatial Form in Modern Literature” which discusses techniques used by Elliot, Pound, and Joyce to break temporal sequence and transcend time. While Frank describes the process of relocating the action from the temporal to the spatial, Abbott’s argument is that challenges, such as garden-path sentences and narratives, relocate “the action from the fictional actual world of the text to the mind of its beholder. It becomes a drama of cognition and at the same time a much more intimate transaction between creator and audience” (82). For Abbott it is not “what art is about” but “what it cognitively is” (82). He illustrates this with an insightful analysis of a line by Beckett. Part III, “Egregious Gaps,” discusses narrative gaps that cannot be filled. Abbott describes the ways in which theories of gaps are supported by...

Origin as a grimase: Nietzsche's view of genealogy

Classical understanding of genealogy sees it as a process of tracing an origin though lineage: a search for the beginning. It descends all the way to the first ancestor and tends to take the very beginning out of the lineage, to consider it as something atemporal, something that is created in itself, that has no origin, but produces one. That atemporal beginning is considered necessary. Since it has no origin, it has no context to come out of. Nietzsche's genealogy, however, shows that the beginning is always arbitrary: it is always contextual, because it has its own history. There is always something that precedes that which is seen as an original, someone who is 'more first' than the first. Establishing a beginning is always a matter of convention. Classical genealogy de-contextualizes the beginning, while Nietzsche's genealogy does exactly the opposite: it puts it in a context, it contextualizes it. The consequences of Nietzsche's understanding of genealogy, as Foucault shows us, bring not only a radically different understanding of a method, but also crucially affect the understanding of the Greek arche - the basic principal that transcends time and any historical context. Genealogy shows how precisely that context determines even what is considered to be originless - something that escapes every context.

Continuity and Caregiving: Comments on Someday All This Will Be Yours

These comments on Hendrik Hartog's Someday All This Will Be Yours: A History of Inheritance and Old Age (2012) examine the delivery of elder care in the nineteenth and early twentieth centuries and the resonance with care practices today. The book's stories of how older people arranged for their care transcend time and place, showing the age‐old difficulties of providing care for the elderly.

Construction of a Creative and Self-Transcending Life: George Sudarshan's Conception and Experience of Creativity

This article presents a philosophical perspective on creativity as described in the writings of George Sudarshan, a highly accomplished theoretical physicist and natural philosopher whose vision of creativity was influenced by “the direct experience of transcendence.” The article reviews his conceptualization of the various mental states modeling the mind as a superfluid and as a collection of harmonic oscillators, which include feelings, consciousness, and altered states. Based on Sudarshan's experiences of discovering knowledge and expressing creativity, this article examines several philosophical assertions about the sources of creative impulse and the nature of the creative process. In addition, the significance of philosophical issues, such as the role of experienced and transcendent time, “critical opalescence,” intuition, grace, ideal states of being and awareness, joy, and illumined perception are also reviewed. The significance of witnessing pure awareness (distinct from individuated ego awareness) in the emergence of the creative self is described and a philosophical framework relating to reconciliation of diverse conforming and creative modes of awareness is outlined. Borrowing from science and philosophy, the article discusses the role of wisdom, use of analogies, metaphors, and moral responsibility in creative functioning. A philosophical conceptualization underlying the rishi model of a creative scientist is presented. The article concludes that transcendence is the key to becoming a fulfilled, actualized, creative being.

As estruturas antropológicas do imaginário de Gilbert Durand em cinco pinturas de Arcimboldo

Trata-se do recorte de uma pesquisa que visa investigar o imaginario na obra de Giuseppe Arcimboldo, artista italiano do seculo XVI que vem chamando a atencao atualmente em virtude de suas ilusoes de otica. Neste trabalho, o objetivo e estabelecer reflexoes sobre cinco de suas obras, com base nas estruturas do imaginario conforme Gilbert Durand. Foi possivel identificar a presenca de imagens referentes ao regime diurno – representando o poder paternal e aspectos de racionalidade e ascensao – e tambem ao regime noturno – remetendo aos ciclos da natureza, ao materno e ao eterno feminino, a descida e a profundidade, com destaque para a simbologia vegetal e alimentar. Tais simbologias, consoantes com o imaginario renascentista, reaparecem num momento em que predomina a simbologia diurna e a leitura imagetica possui caracteristicas diferenciadas, embora o imaginario transcenda limites temporais e espaciais.

An Analysis of Elements to Improve Interactivity in Educational Apps for Smart Learning

클라우드의 완성을 향해 디지털화, 스마트화 되어가고 있는 현재, 교육 패러다임 또한 변화하고 있다. 이전의 강의실을 기반으로 하는 일반 강의에서, 컴퓨터를 기반으로 시공간을 초월하는 e-learning으로 변화하였다가, 이제는 스마트 러닝으로 향해가고 있는 것이다. 이미 시작된 스마트 러닝은 개인성, 이동성, 즉시성, 다양한 멀티미디어 기능 등 그 수행 역량에 비해 아직은 매우 미흡한 수준에 불과하다. 현재 개발되어 있는 스마트 러닝용 앱의 경우, 대부분 e-learning 콘텐츠를 단순히 변환하여 적용하는 수준이며, 스마트기기의 화면 크기에 따라 상당 부분이 삭제되어 있다.BR 효율적 학습을 위해서는 상호작용이 매우 중요한 부분이지만, 이때 대부분의 상호작용이 삭제되고 있어, 스마트 러닝의 큰 문제점이 나타나고 있는 것이다. 이에 본 논문에서는 현재 진행되고 있는 교육용 앱 콘텐츠를 선정하여, 일반적 이론과, 선행논문, 그리고 설문을 통해 교육용 앱 콘텐츠에서 상호작용의 중요성과 앞으로의 보완점 등을 제기함으로써, 학습증진에 효과적인 앱 콘텐츠 제작에 초석을 다지고자 하였다. 그 결과 현 교육용 앱 콘텐츠의 보완점과 문제점을 검증할 수 있었고, 이를 토대로 학습에 대한 집중도를 높일 수 있는 상호작용을 위한 보완점을 제시할 수 있었다. 이를 토대로 향후 제작되는 교육용 앱의 보다 효율적인 교육환경을 실현할 수 있을 것으로 기대한다.

The notion of time in symptom experiences.

The experience of unpleasant sensations associated with the presence of symptoms prompts self-care or help seeking to obtain explanations for the symptoms, manage emotional responses, or obtain treatment for symptom alleviation and elimination. The purpose of this article is to summarize and comment on three existing symptom theories, with special attention to temporal factors. Existing theories are synthesized as the time dimensions of symptom experiences and symptom management processes are elucidated. Clinical examples and findings from empirical studies illustrate critical points. Existing theories describing the symptom experience and the process of symptom management refer implicitly to the role of time or use limited dimensions of time. Symptom experiences in time (SET) theory is proposed as a synthesis and extension of existing theories. The SET theory conceives the symptom experience as a flow process that explicitly incorporates temporal dimensions. Four dimensions of time are recognized: clock-calendar, biologic-social, perceived, and transcendent time. The four temporal dimensions are placed against a backdrop of "meaning-in-time" that brings forth the potential for transformation in a symptom experience. Increasing sophistication in design, measurement, and data analysis is required to test and evaluate SET theory-based propositions. The SET theory extends previous work by incorporating multiple temporal dimensions that reflect the human experience of health and illness manifested in the expression and management of symptoms.

Time and the One and the Many

(IN HUSSERL'S BERNAUER MANUSCRIPTS ON TIME CONSCIOUSNESS) To raise the issue of time is to confront a vivid instance of the relation of the one and the many. Even in ordinary prephilosophical living, if we think about time at all, we at least think of it as a unity playing host to infinitely many objects and events. Edmund Husserl accepts this ordinary assumption about time, but-whether in the early texts published in Husserliana X, in the Bernauer Manuscripts from 1917/1918,1 or in later unpublished texts-he is concerned with more than simply time. His focus is on time-consciousness, which brings before us time as presentgd to consciousness and consciousness as presenting time, and not only time but temporal objects and even itself as a process. This focus on the consciousness of time, embracing both the time of which we are conscious and the consciousness of it, uncovers a rich and layered array of one/many relationships. Indeed, it is reasonable to claim that Husserl's phenomenology of temporality is precisely the investigation of the interplay of the one and the many within levels and among levels of time and time-consciousness. The aim of this essay is to examine several of the ways in which such interplays appear in the Bernauer Manuscripts. Time, Temporal Objects, and the Unity of Time I will start with time itself, the time that is the object of time-consciousness. Husserl speaks of many times: immanent time, phenomenological time, transcendent time, the time of phantasy. Whether these various times in some sense form one time is an important question to which I will turn later. But however one answers it, Husserl holds that any time is a unity with infinitely many successive points or positions. Time as a unity is a continuum of many time points. This does not mean that Husserl thinks that we can be conscious of time or of its successive points by themselves, in isolation from any content. On the contrary, we are always conscious of objects in time. "A time point is the time point of an individual filling this time point" (181). What can we say, then, about the time in which we experience temporal objects? Objects are temporal objects because they fill time. Each point of time is filled with some phase of an object or event, of a bird in flight, for example, or of the act of seeing the bird in flight. In that sense, both time and each of its points are forms (160). Hence time points and the object points filling them are not identical; they differ as form and content. This displays itself in the fact that one time point can accommodate many different objects. It is this distinction between time point and the different objects that fill it that accounts for simultaneity. I can hear a melody playing on the radio, look at the illustrations in the magazine in front of me, and feel a soft breeze coming through the window-all at the same time. On the other hand, there cannot be several time points at once. Time points are not contents in time and hence are not "at a time," as objects and their phases are. Time points are the one time in its manyness. Hence time points, unlike object points, are never simultaneous. They are what makes the simultaneity and succession of temporal objects possible. They are the times at which an object or event can be. When we are conscious of temporal objects, of course, we are not just aware of isolated temporal points, each filled with a dol-lop of objective content. We experience enduring objects, as when we contemplate a picture or listen to a piece of music or watch a baseball game. To be an individual object constituted in time means to endure in time. The individual object "becomes constituted point by point as filled temporal duration" (322). An object's duration is part of time; it is the amount of time the object lasts, the continuum of time points the object fills (121). "The duration itself and the temporal extension are the same" (134). For this reason, Husserl writes, "every property endures; (but) the duration itself does not endure: ex definitione" (306). …

Narrating Community in Doctrina Classes

While narrative focuses on particular protagonists and events, narrative also situates tellers and their audiences within a web of historical and cultural expectations, ideologies, and meanings, more broadly. As such, narrative creates shared understandings and community among those participating in narrative activity. Moreover, the narrative process extends beyond the boundaries of the here and now to embrace people and places in a cultural past. This article examines the religious narrative accounts of the apparition of Nuestra Señora de Guadalupe told in children’s religious education classes called doctrina at a Catholic parish in Los Angeles. The children that attend these classes are of Mexican descent and their lessons are taught in Spanish. The article analyzes the linguistic and interactional means through which narrative renditions of the story of Nuestra Señora de Guadalupe construct Mexican identity. The narrative renditions tell the story of the apparition of the Virgin Mary in Tepeyac, near Mexico City, in the year 1531, thirteen years after the fall of the Aztec empire to the Spanish conquest. These diasporic narrative accounts transcend time and space, as they continue to be told by Mexican Catholics at places beyond the geopolitical borders of Mexico. Moreover, these narrative tellings are instrumental for positioning teachers and students in a postcolonial moment that revisits the hierarchies of Mexico’s colonial regime vis-à-vis their current experiences as immigrants in Los Angeles.

Iran/contra and the defeat of accountability

Is Accountability a standard that transcends time and culture? Does it retain any meaning for an electronically mediated society? Older norms of fairness, reciprocity and of individual responsibility appeared to be inadequate ethical guides during the Iran/Contra Hearings. This article highlights the testimony of Oliver North in order to challenge the universality of Accountability as a criterion of legitimate conduct.

Hardy's Mummers

Research Article| September 01 1986 Hardy's Mummers Robert Squillace Robert Squillace Search for other works by this author on: This Site PubMed Google Scholar Nineteenth-Century Fiction (1986) 41 (2): 172–189. https://doi.org/10.2307/3045137 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Robert Squillace; Hardy's Mummers. Nineteenth-Century Fiction 1 September 1986; 41 (2): 172–189. doi: https://doi.org/10.2307/3045137 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentNineteenth-Century Literature Search This content is only available via PDF. Copyright 1986 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

Transcendent Time and Eternity in Gregory of Nyssa

Transcendent Time and Eternity in Gregory of Nyssa

Transcendent Time in Maximus the Confessor

TRANSCENDENT TIME IN MAXIMUS THE CONFESSOR ATHEY ATTEMPTED to rethink the biblical tradition in terms of Greek philosophy Christian theologians found it natural to relate the contrast between Creator and creation to the Neo-Platonic contrast between transcendent and phenomenal reality. In Neo-Platonism the two poles are tied together by a great chain each link of which represents a phase of the diffusion of reality from the timeless to the temporal plane: from the radical unity of the One beyond all categories, through the unity-in-plurality of intelligible being on its higher levels and its plurality-in-unity on lower levels, through the still more diffuse plurality-in-unity of soul and finally down to the actual flow of time. Eternity (awn) is at the highest levels of intelligible reality and embodies its unity as a dimensionless point or timeless present which expands in time into the serial order of past/present/future as well as into the actual succession of moments. Between time and eternity and closely associated with soul is a transcendent time which combines the absence of process in eternity with the serial order of time. In later Neo-Platonism it is conceived of as a' number' or formula embracing the life span of the universe and of its parts. Timelessness is thus seen from this point of view in structural terms, i.e., it is (in the case of transcendent time) the serial order of time stripped of process or (in the case of true eternity) it is that order contracted to radical unity.1 Maximus's concept of time rests on his division of reality into three stages (beginning, middle and end) which are de1 S. Gersh, From lamblichua lo Eriugena (Leiden: Brill, 1978), p. 72, n. 212; P. Plass, 'Timeless Time in Neo-Platonism,' The Modern Schoolman, vol. 55 (1977)' p. If. 259 ~60 PAUL PLASS fined in a variety of ways. The most important of the triads are 'becoming/motion/rest' (genesis/kinesis/stasis) and 'being/ well-being/ever-well-being.' 2 'Coniing to be is presupposed by the natural motion of all created things and motion is naturally presupposed by all rest (91.1£17D) .' 'Becoming' or 'being' is the brute, unaccountable fact that there is a creation; it is the absolute dependence and contingence of created being. 'Motion' (or 'change') is the cosmic process-characterized by space and especially by time-in which things achieve individuality and develop toward their destinies. Though it may be diverted into 'evilbeing ,' Maximus takes a decidedly positive view of creation 8 and sees in it not merely motion but directed motion; as ' being ' corresponds to 'genesis,' 'well-being' corresponds to 'motion.' Hence time generally answers to 'well-being' because it has a natural goal-the cessation of motion in ' rest,' i.e., the perfecting of well-being in ever-well-being. Maximus borrows the Cappadocian notion of ' extension ' (diastema) for the middle member of the triad. Time and space are generated by motion from' beginning' to ' end ': ' All that is created has a beginning of existence since it has come to be and an interval (diastihna) from the time when it began (91.1397B) .' Diastema includes both intelligible and sensible creation (91.1072A) and is not only' extension' of the creature through time but ' distance between,' i.e., the infinite gap 2 For a brief review of early theological views on time and motion cf. Hans von Balthasar, Kosmische Liturgie; (Einsiedeln: Johannes-Verlag, 1961), 2nd ed., p. 60lf. Other triads are being/choice/grace; power/activity/rest; being/relation/ grace; birth/baptism/resurrection (90.1084B; 91.1073C; 1217Cf; 1237A; 1325B; l392Af) . All references to Maximus are to the Migne Patrologia Graeca edition, volumes 90 and 91. For parallels among the triads cf. Polycarp Sherwood, The Earlier Ambigua of Saint Maximus the Confessor and his Refutation of Origenisrn (Rome: Herder, 1955), Studia Anselmiana, XXXVI, p. 42£; Balthasar, p. 139f. For faith/hope/charity cf. Lars Thunberg, Microcosm and Mediator (Lund: Gleerup, 1965), Acta Seminarii Neo-Testamentici Uppsaliensis, XXV, p. 338. For a detailed outline of Maximus's ontology cf. W. Volker, Maximus Confessor als Meister des Geistlichen Lebens (Wiesbaden: Steiner, 1965), p. 23f. 8...

Transcendent Time and Eternity in Gregory of Nyssa

Transcendent Time and Eternity in Gregory of Nyssa

A. C. Swinburne's “Hymn to Proserpine”: The Work Sheets

AbstractRecently discovered work sheets for Swinburne's “Hymn to Proserpine” (1866) reveal that the central wave image, foreshadowing the later symbolists and imagists, was wrought by Swinburne with extreme care. Through a careful pruning and a suppression of the simile in favor of metaphor, Swinburne built this passage of eighteen lines so that effects accumulate, distilling his themes of power, fear, evil, and transcendent time with considerable symbolic force.