This hugely own account of a lifetime’s non secular and philosophical enquiry charts the author’s trip of religion via modern tradition. Distinguishing among what she posits because the ‘universal’ and the ‘rhapsodic’ trademarks, Tymieniecka interrogates ideas as diversified as creativity and the media, pleasure and discomfort, and fact and ambiguity. She contemplates the chances and bounds of communique among people, and descriptions what she calls the ‘transnatural destiny’ of the human soul.
The publication asserts that in contrast to idea, which unfolds a logical continuity, and in contrast to discussion, that is directed sequentially upward towards highbrow conclusions, the mode of mirrored image of the ‘rhapsodic logos’ imposes no limits or caps upon its knowing. as an alternative, the ‘logoic’ move interlaces the rhapsodic cadences of our reflections on fact, in all their innumerable fluctuations, and sifts them to mildew the intimate mind/soul inwardness that we event as faith.
The radiative meditations of this ‘rhapsodic logos’ weave their manner during the entanglements of the secret of incarnation, the constitutive archetypes, the inwardly sacred, the transnatural future of the soul, and eventually ascend the rhapsodic scales towards culminating religion within the Christo-Logos.
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Extra resources for The Fullness of the Logos in the Key of Life: Book 2: Christo-Logos: Metaphysical Rhapsodies of Faith (Analecta Husserliana, Volume 111)
The brain does not infer in the way we do when we solve a logical puzzle. And it does not guess in anything like the way we do when we guess who it was that just knocked on our door. Nevertheless, Marr’s account of what the brain does when we visually perceive the world employs ideas that are similar enough to these familiar concepts to make this language illuminating. Abstracting from the details, Marr’s account is built around two related concepts: representations and rules. And these are inseparable.
Blackmore et al. 1995; Rensink, O’Regan, and Clark 1997) showed that under these sorts of conditions, observers have great difficulty seeing changes, even though they are large and occur in full view. If you are at all typical, you will find some of the changes easier to spot than others. But some of them will be very difficult to spot, and all of them will be harder to spot than if you were just looking at a changing scene where the change was not masked. In one version of the experiment, O’Regan even showed that an observer could be looking directly at the change at the moment it occurs and still not notice it (O’Regan et al.
3. Retinal images carry relatively little information, certainly not enough to add up to genuine perception. 4. , processed) by various information-processing operations. 5. These information-processing operations occur inside the skin of the perceiving organism. This framework assumes that visual perception begins with the retinal image. Gibson’s first insight—and perhaps his most important one—was 34 Chapter 2 to see that this is not so: visual perception begins not with the retinal image but with what Gibson (1966, 1979) called the optic array.
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