• Iberoamérica
• /
• v.21 no.2
• /
• pp.115-143
• /
• 2019

This article analyzes the relationship between Mexican writer Alfonso Reyes and the group of thinkers, writers, and critics that conformed the Ateneo de la Juventud, in order to show the reciprocal influence that existed between them. The article also considers the Ateneo's role in breaking from the old Positivist model and the acceptance of new ideas around spiritualism, youthfulness, the creation of a thinking and critical sphere, and intellectual aristocracy, among others. The relationship between the ideas of the Ateneo de la Juventud and the Mexican Revolution are discussed, as well as the social and cultural practices of dialogue and friendship, which are considered to be key to understanding the manifestations of intellectual sociability that took place at the turn of the century in Mexico and Latin America. The article also presents an overview of the role that the reading of classical texts and modern thinkers (Nietzsche, Schopenhauer, Bergson, Boutroux among others) had for ateneístas, as well as the way in which they preserved an arielista sense of a relationship between knowledge, ethics, and aesthetics as formative keys for the ideas men of their time.

• Journal of Korean Philosophical Society
• /
• v.142
• /
• pp.241-263
• /
• 2017

The purpose of this paper is to investigate Toegye's simhak in relation to spiritualism. In general, we call Chu Hsi's learning "lihak" (the learning of principle) while Wang Yangming's learning is described as "simhak" (the learning of mind). However, we sometimes call Toegye's learning "simhak" in spite of his respect for Chu Hsi's philosophy of li. Toegye's simhak is different from Wang Yangming's. Nonetheless, Toegye too, highlighted the existential meaning of truth. Toegye regarded simgyung (the book of mind) as one of the most important classics for self-cultivation. As is well known, Toegye's main concern was concentration on mind and heart cultivation. Toegye understood li as a spiritual being, which can actualize itself. The goal of simhak is to become a sage. For a sage, there is no contradiction between moral norm and human desire. To become a sage, Toegye developed the theory and practice of mind cultivation. Toegye's simhak has some common characteristics with Louis Lavelle's philosophy of spiritualism. Both Toegye and Louis Lavelle lay great emphasis on self reflection and spiritual life. In particular, Toegye developed the concrete method of mind cultivation. In the 21st century, human beings are confronted with spiritual crisis in many aspects. Toegye's simhak can be advanced as useful wisdom to keep one's mind in a peaceful and harmonious state.

• Journal of Korean Medical classics
• /
• v.36 no.1
• /
• pp.17-32
• /
• 2023

Objectives : This paper investigates the background, meaning and origin of the descriptions of the Heart such as 'seven orifices', 'sanmao', 'saw-toothed four layered lines' that are unique to the diagram in the Donguibogam. Methods : First the Heart diagram of the Donguibogam was compared with other Zhangfu diagrams of the past. Materials related to unique features in the descriptions of the Heart in the Donguibogam were collected, against which descriptive features were analyzed. Results : Of the many unique features, the descriptive basis of the 'seven orifices' could be found in the Qixingban[七星板] as a physical entity reflecting basic anatomical knowledge. The 'sanmao', which is compared to the Santaixing[三台星], could be understood as a non-physical entity whose descriptive basis could be found in the Xinxuetu of the Xinching. It could be assumed that the 'saw-toothed four layered lines' are likened to the multi-layered petals or calyx of a lotus flower bud to describe the Pericardium, or to the multiple walls of a mountain fortress surrounding a palace to describe the Danzhong, which is the chest cavity. These features could be understood as results of spiritualism influence. Conclusions : It could be concluded that Heo Jun, in his attempt to describe the Heart in more detail than previous diagrams of the Zangfu, referenced popular texts and images based on anatomical knowledge of previous texts, added varied descriptions resulting in a new diagram with a completely different origin.

• Journal of Science of Art and Design
• /
• v.6
• /
• pp.119-139
• /
• 2004

The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

• Journal of English Language & Literature
• /
• v.54 no.2
• /
• pp.301-322
• /
• 2008

Pauline Hopkins's Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of "black nationalism" of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of "the hidden self" which unfolds the complex nature of Hopkin's position on race, "blood," and African-American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel-such as "of one blood," "the hidden self," and incest-exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken AfricanAmericans with the legacy of the African 'pure' bloodline. Hopkins's vision here necessitates the reevaluation of black women's role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.