The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the “artist-philosopher” as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other.
早期现代艺术家的相对成熟是有争议的，特别是关于他们的教育背景。一方面，登普西式的思想史被赋予了在艺术教育机构中兜售结构化的文学课程的权利;而另一方面，对“艺术家-哲学家”作为历史小说的完全拒绝试图破坏这种霸权结构。这项研究认为，像Annibale Carracci和Nicolas Poussin这样的艺术家缺乏早期正规教育，他们不像Peter Paul Rubens，在经典和语言方面没有坚实的基础，这使他们能够直接接触原始材料，后来他们通过与Torquato Tasso, Giambattista Marino和Accademia dei Gelati圈子中的文学人物的关系来补充。除了这种关系之外，非正式的交流、聚会和补充材料，如乔瓦尼·保罗·加鲁奇的《德拉·西姆特里亚》，在处理诗歌主题时也可以被要求。有了对白话诗的深入了解，文人自己也参加了讲座和工作室参观，最后，还有主题的快速参考指南，这些艺术家能够创作出既能表达当时的诗歌理论，也能表达艺术理论的作品，因为两者自然会相互影响。
{"title":"Li Pittori Parlano con l’Opere: Visualizing Poetry in Practice in Early Modern Italian Art","authors":"James Hutson","doi":"10.30958/ajha.8-3-1","DOIUrl":"https://doi.org/10.30958/ajha.8-3-1","url":null,"abstract":"The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the “artist-philosopher” as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127273151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The debate about the Egyptian origin of Grecian philosophy is waged so far on the ground of historicism and from the generalization of the concept of philosophy. This paper handles the issue on a theological point of view as an answer to the question: did Grecian speculative philosophy originate from ancient Egypt? Through a comparative study, the paper establishes the divergent natures of Egyptian religion and Platoʼs metaphysics. This divergence implies that the genesial events of Grecian speculative philosophy are not transposable on Egyptian knowledge. Moreover, both episteme do not obey equally to the epistemic evolution theorized by Auguste Comte. The paper proves the existence of a corpus of doctrines, in the religion of ancient Egypt, not found in Greece, which constitutes a system of divine mystery. However, owing to the nature of the scientificity of this corpus of religious doctrines and to the nature of their epistemology, the paper sustains that philosophy, as a speculative discipline, could not originate from ancient Egypt.
{"title":"The Devolutionary Nature of Platoʼs Metaphysics Compared to Egyptian Religion, Proof of an Egyptian System of Mystery and of Grecian Origin of Speculative Philosophy","authors":"Kiatezua Lubanzadio Luyaluka","doi":"10.30958/ajha.7-3-4","DOIUrl":"https://doi.org/10.30958/ajha.7-3-4","url":null,"abstract":"The debate about the Egyptian origin of Grecian philosophy is waged so far on the ground of historicism and from the generalization of the concept of philosophy. This paper handles the issue on a theological point of view as an answer to the question: did Grecian speculative philosophy originate from ancient Egypt? Through a comparative study, the paper establishes the divergent natures of Egyptian religion and Platoʼs metaphysics. This divergence implies that the genesial events of Grecian speculative philosophy are not transposable on Egyptian knowledge. Moreover, both episteme do not obey equally to the epistemic evolution theorized by Auguste Comte. The paper proves the existence of a corpus of doctrines, in the religion of ancient Egypt, not found in Greece, which constitutes a system of divine mystery. However, owing to the nature of the scientificity of this corpus of religious doctrines and to the nature of their epistemology, the paper sustains that philosophy, as a speculative discipline, could not originate from ancient Egypt.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127024227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Political speeches, no doubt, have been object and subject of diverse linguistic and non-linguistic analyses for decades. Apparently, communication is the most vital tool in politicking within and outside Nigeria as politicians vehemently trade in various discourses and arguments through fliers, pamphlets, manifestoes, public statements and speeches. In fact, political speeches are occasioned by different contexts or situations. Hence, the research portrays context as an integral part in speaker᾽s intention and hearer᾽s interpretation. Specifically, performative political-speeches are selected to explore the significance of the context in negotiating pragmatic meaning through the frame work of Speech Act Theory. The data are drawn from two speeches of Nigerian President Umaru Musa Yar᾽Adua based on periodisation (2008-2009). The Speech Act analysis of these action political discourses provides the understanding that political leaders employ unique speech act types which are mainly assertive when delivering performative political speeches. The reason for this is premised on the fact that the speeches are performative and delivered by a President in a democratic government. The study, therefore, recommends a contrastive analysis of performative and ceremonial political speeches of the President or other political leaders to further demonstrate the influence of context on speech act patterns.
毫无疑问，几十年来，政治演讲一直是各种语言和非语言分析的客体和主体。显然，沟通是尼日利亚国内外政治活动中最重要的工具，因为政治家们通过传单、小册子、宣言、公开声明和演讲激烈地交换各种话语和论点。事实上，政治演讲是由不同的语境或情况引起的。因此，该研究将语境描述为说话人/听话人/听话人/解释过程中不可分割的一部分。具体而言，本文以行为性政治演讲为研究对象，通过言语行为理论的框架探讨语境对谈判语用意义的影响。数据来源于尼日利亚总统Umaru Musa Yar的两次演讲，基于周期化(2008-2009)。对这些行动政治话语的言语行为分析提供了一种理解，即政治领导人在发表表演性政治演讲时使用独特的言语行为类型，这些类型主要是自信的。这样做的原因是基于这样一个事实，即演讲是表现性的，并且是由民主政府的总统发表的。因此，本研究建议对总统或其他政治领导人的表演性和仪式性政治演讲进行对比分析，以进一步证明语境对言语行为模式的影响。
{"title":"Exploring the Significance of Context in Meaning: Speech Act Features of Performative Political-Speeches of President Umaru Musa Yar᾽Adua","authors":"S. Akinkurolere","doi":"10.30958/ajha.7-1-3","DOIUrl":"https://doi.org/10.30958/ajha.7-1-3","url":null,"abstract":"Political speeches, no doubt, have been object and subject of diverse linguistic and non-linguistic analyses for decades. Apparently, communication is the most vital tool in politicking within and outside Nigeria as politicians vehemently trade in various discourses and arguments through fliers, pamphlets, manifestoes, public statements and speeches. In fact, political speeches are occasioned by different contexts or situations. Hence, the research portrays context as an integral part in speaker᾽s intention and hearer᾽s interpretation. Specifically, performative political-speeches are selected to explore the significance of the context in negotiating pragmatic meaning through the frame work of Speech Act Theory. The data are drawn from two speeches of Nigerian President Umaru Musa Yar᾽Adua based on periodisation (2008-2009). The Speech Act analysis of these action political discourses provides the understanding that political leaders employ unique speech act types which are mainly assertive when delivering performative political speeches. The reason for this is premised on the fact that the speeches are performative and delivered by a President in a democratic government. The study, therefore, recommends a contrastive analysis of performative and ceremonial political speeches of the President or other political leaders to further demonstrate the influence of context on speech act patterns.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125611957","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Contemporary Aboriginal Art from Australia᾽s Desert: Context, Debates, and Analysis","authors":"Aleksandra Lukaszewicz Alcaraz","doi":"10.30958/ajha.6-4-4","DOIUrl":"https://doi.org/10.30958/ajha.6-4-4","url":null,"abstract":"","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129974438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Colossus of Rhodes: Its Height and Pedestal","authors":"R. B. Kebric","doi":"10.30958/ajha.6-4-1","DOIUrl":"https://doi.org/10.30958/ajha.6-4-1","url":null,"abstract":"","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115347056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The music of Japanese composer Tōru Takemitsu (1930-1996) eludes understanding by traditional musical analytical approaches. In his earlier works, the musical language Takemitsu employed is influenced by Debussy, Webern, and particularly Messiaen; however, his music defies successful analyses by Western analytical methods, mainly to find an organizational force that unifies the composition as a whole. In this essay, I illuminate how his music was made to be "Japanesesounding," even though Takemitsu clearly resisted association with, and was averse to, Japanese traditional culture and quality when he was younger. I do this by examining Takemitsu ̓s friendship with two individuals whom he met during his early age, who influenced Takemitsu at an internal level and helped form his most basic inner voice. The close friendship Takemitsu developed as a young composer with Shūzō Takiguchi (1903-1979), an avant-garde surrealist poet and also a mentor to many forward-looking artists, and Fumio Hayasaka (1914-1955), a fellow composer best known for his score to Akira Kurosawa ̓s film Rashōmon, is little known outside Japan. In this essay, I discuss the following issues: 1) how Takiguchi ̓s experimental ideas might have manifested themselves in Takemitsu ̓s early compositions; and 2) how Hayasaka ̓s mentorship, friendship, and ideals of the nature of Japanese concert music might have influenced Takemitsu ̓s early pieces. I analyze some earlier compositions by Takemitsu to discuss the influences on his music by his two mentors, whose attitudes seemingly had come from opposite spectrums.
{"title":"Tōru Takemitsu᾽s \"Spherical Mirror:\" The Influences of Shūzō Takiguchi and Fumio Hayasaka on his Early Music in Postwar Japan","authors":"T. Deguchi","doi":"10.30958/ajha.6-4-2","DOIUrl":"https://doi.org/10.30958/ajha.6-4-2","url":null,"abstract":"The music of Japanese composer Tōru Takemitsu (1930-1996) eludes understanding by traditional musical analytical approaches. In his earlier works, the musical language Takemitsu employed is influenced by Debussy, Webern, and particularly Messiaen; however, his music defies successful analyses by Western analytical methods, mainly to find an organizational force that unifies the composition as a whole. In this essay, I illuminate how his music was made to be \"Japanesesounding,\" even though Takemitsu clearly resisted association with, and was averse to, Japanese traditional culture and quality when he was younger. I do this by examining Takemitsu ̓s friendship with two individuals whom he met during his early age, who influenced Takemitsu at an internal level and helped form his most basic inner voice. The close friendship Takemitsu developed as a young composer with Shūzō Takiguchi (1903-1979), an avant-garde surrealist poet and also a mentor to many forward-looking artists, and Fumio Hayasaka (1914-1955), a fellow composer best known for his score to Akira Kurosawa ̓s film Rashōmon, is little known outside Japan. In this essay, I discuss the following issues: 1) how Takiguchi ̓s experimental ideas might have manifested themselves in Takemitsu ̓s early compositions; and 2) how Hayasaka ̓s mentorship, friendship, and ideals of the nature of Japanese concert music might have influenced Takemitsu ̓s early pieces. I analyze some earlier compositions by Takemitsu to discuss the influences on his music by his two mentors, whose attitudes seemingly had come from opposite spectrums.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117034955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article analyse le lien entre la pseudépigraphie antique et l'éthique que peuvent mettre en évidence les approches dites de la mémoire dans le champ du Nouveau Testament. Il vise à démontrer que la période de troubles des premières communautés était une situation suffisamment troublante qui a motivé et façonné l'utilisation de la littérature pseudépigraphique dans le Nouveau Testament. L'originalité de cet article réside dans la prise en compte spécifique de l'éthique dans la littérature pseudépigraphique. En se concentrant sur deux lettres du Nouveau Testament 2 Tm et 2 P cette étude montre que la disparition des Apôtres vers 60 de notre ère pose un double défi aux communautés chrétiennes. Elles doivent établir des indications claires dans une situation chaotique et traduire des concepts éthiques spécifiques afin d'être comprises et acceptées dans un environnement hostile. La pseudépigraphie leur a permis de relever ce double défi en mobilisant des figures du passé qui font autorité dans le but de rappeler à l'ordre leurs coreligionnaires. Le présent article a ainsi pour [...] BULUNDWE, Kampotela Luc. Ethics and Pseudepigraphy : Do the Ends Always Justify the Means? Athens journal of humanities and arts, 2019, vol. 6, no. 4, p. 323-344 DOI : 10.30958/ajha.6-4-3
这篇文章分析了古代伪书和伦理学之间的联系，这可以从所谓的记忆方法在新约领域中突出。它的目的是证明早期教会的动荡时期是一个足够令人不安的情况，它激发并塑造了新约中伪文献的使用。这篇文章的独创性在于在伪文献中对伦理学的具体考虑。这项研究集中在新约第二章和第二章的两封信上，表明使徒在公元60年左右的消失对基督教团体提出了双重挑战。它们必须在混乱的情况下提供明确的指示，并翻译特定的伦理概念，以便在敌对的环境中被理解和接受。假名使他们能够应对这一双重挑战，动员过去的权威人物，以提醒他们的宗教同胞秩序。因此，本文旨在[…]= =地理= =根据美国人口普查，该县的总面积为，其中土地和(1.)水。Ethics and Pseudepigraphy: Do the end Always the Means的征兆?《雅典人文与艺术杂志》，2019年，第6卷，第1期。4，第323-344页DOI: 10.30958/ajha.6-4-3
{"title":"Ethics and Pseudepigraphy – Do the Ends Always Justify the Means?","authors":"L. Levy","doi":"10.30958/ajha.6-4-3","DOIUrl":"https://doi.org/10.30958/ajha.6-4-3","url":null,"abstract":"Cet article analyse le lien entre la pseudépigraphie antique et l'éthique que peuvent mettre en évidence les approches dites de la mémoire dans le champ du Nouveau Testament. Il vise à démontrer que la période de troubles des premières communautés était une situation suffisamment troublante qui a motivé et façonné l'utilisation de la littérature pseudépigraphique dans le Nouveau Testament. L'originalité de cet article réside dans la prise en compte spécifique de l'éthique dans la littérature pseudépigraphique. En se concentrant sur deux lettres du Nouveau Testament 2 Tm et 2 P cette étude montre que la disparition des Apôtres vers 60 de notre ère pose un double défi aux communautés chrétiennes. Elles doivent établir des indications claires dans une situation chaotique et traduire des concepts éthiques spécifiques afin d'être comprises et acceptées dans un environnement hostile. La pseudépigraphie leur a permis de relever ce double défi en mobilisant des figures du passé qui font autorité dans le but de rappeler à l'ordre leurs coreligionnaires. Le présent article a ainsi pour [...] BULUNDWE, Kampotela Luc. Ethics and Pseudepigraphy : Do the Ends Always Justify the Means? Athens journal of humanities and arts, 2019, vol. 6, no. 4, p. 323-344 DOI : 10.30958/ajha.6-4-3","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128173194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As computational systems have become an integral part of our daily lives, we often see that contemporary art also has adapted itself with the newborn technological changes in diversified dimensions. Machine Learning, which has recently become a remarkable development in science, has also begun to manifest itself in various artistic works. As accordingly, the artwork that has been created by the author of this article named "Variable" stands as an interactive work of art that embraces machine learning algorithms within its compositional structure. The artwork was extensively influenced by the sophisticated discourse of German philosopher Heidegger's book “Being and Time”. Consequently, Being and Time text has been taught to a machine learning system, and thus the system has been able to automatically generate new original contents when the viewer interacts with the touch of a button. The generative system performs its Machine Learning Markov Chain operations with the implementation of a Python programming language-based library named Markovify. The work constantly redefines its own artistic title and statement with the use of a machine learning framework. In this article, the contribution of machine learning to the production of artworks is being examined while focusing on various implementations.
{"title":"Using a Machine Learning Algorithm to Create a Computational Artwork: Variable","authors":"Selçuk Artut","doi":"10.30958/AJHA.6-3-1","DOIUrl":"https://doi.org/10.30958/AJHA.6-3-1","url":null,"abstract":"As computational systems have become an integral part of our daily lives, we often see that contemporary art also has adapted itself with the newborn technological changes in diversified dimensions. Machine Learning, which has recently become a remarkable development in science, has also begun to manifest itself in various artistic works. As accordingly, the artwork that has been \u0000created by the author of this article named \"Variable\" stands as an interactive work of art that embraces machine learning algorithms within its compositional structure. The artwork was extensively influenced by the sophisticated discourse of German philosopher Heidegger's book “Being and Time”. Consequently, Being and Time text has been taught to a machine learning system, and thus the system has been able to automatically generate new original contents when the viewer interacts with the touch of a button. The generative system performs its Machine Learning Markov Chain operations with the implementation of a Python programming language-based library named Markovify. The work constantly redefines its own artistic title and statement with the use of a machine learning framework. In this article, the contribution of machine learning to the production of \u0000artworks is being examined while focusing on various implementations.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125936981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The question of the meaning of life is one of the most crucial questions that the human mind is able to produce. The way we respond to it determines the way we design and arrange our life and our culture. So, what exactly do we mean when we talk about the meaning of life? Behind this expression is hiding a set of very diverse philosophical ideas. Analytic philosophy can be the tool to bring these ideas to the surface, clarify their content and study the conceptual compatibility between each other. My reflection starts off with inserting all philosophically relevant historical answers to this question into five categories that serve as references for the whole context. A summarised conceptual and linguistic analysis is then applied to a number of concepts and issues connected to our topic, such as the concept of meaning itself, the moralistic fallacy, the eudemonistic issue etc. This allows to construct a semantic and conceptual network that brings a great deal of clarification and the possibility to find more precise common grounds for discussion about this highly abstract question. The results of this analysis are used to produce, as a personal outlook, the proposal of a new theory concluding that the demand for lifeʼs meaning should be placed in a non-religious, non-teleological and intersubjective narrative for normative purposes.
{"title":"The Meaning of Life: The Major Philosophical Aspects Hidden Behind a Fundamental Question of Human Existence","authors":"Paul Letsch","doi":"10.30958/AJHA.6-3-2","DOIUrl":"https://doi.org/10.30958/AJHA.6-3-2","url":null,"abstract":"The question of the meaning of life is one of the most crucial questions that the human mind is able to produce. The way we respond to it determines the way we design and arrange our life and our culture. So, what exactly do we mean when we talk about the meaning of life? Behind this expression is hiding a set of very diverse philosophical ideas. Analytic philosophy can be the tool to bring these ideas to the surface, clarify their content and study the conceptual compatibility between each other. My reflection starts off with inserting all philosophically relevant historical answers to this question into five categories that serve as references for the whole context. A summarised conceptual and linguistic analysis is then applied to a number of concepts and issues connected to our topic, such as the concept of meaning itself, the moralistic fallacy, the eudemonistic issue etc. This allows to construct a semantic and conceptual network that brings a great deal of clarification and the possibility to find more precise common grounds for discussion about this highly abstract question. The results of this analysis are used to produce, as a personal outlook, the proposal of a new theory concluding that the demand for lifeʼs meaning should be placed in a non-religious, non-teleological and intersubjective narrative for normative purposes.","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"362 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122821552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Melvilleʼs New Seafarerʼs Philosophy in Moby-Dick","authors":"Richard Mcdonough","doi":"10.30958/AJHA.6-3-3","DOIUrl":"https://doi.org/10.30958/AJHA.6-3-3","url":null,"abstract":"","PeriodicalId":325459,"journal":{"name":"ATHENS JOURNAL OF HUMANITIES & ARTS","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126583554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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