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A l'occasion du 130e anniversaire de la naissance du théologien et philosophe russe, cette réunion d'études explore le dialogue entre la pensée de Florenski et la tradition européenne, ainsi que la réception de son oeuvre par les sciences humaines actuelles.
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Theologians --- Biography --- Florenskiĭ, P. A. --- Family.
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Florenskiĭ, P. A. --- Bible. --- Criticism, interpretation, etc. --- History
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Pavel Florensky (1882–1937) was a Russian philosopher, theologian, and scientist. He was considered by his contemporaries to be a polymath on a par with Pascal or Da Vinci. This book is the first comprehensive study in the English language to examine Florensky's entire philosophical oeuvre in its key metaphysical concepts. For Florensky, antinomy and symbol are the two faces of a single issue—the universal truth of discontinuity. This truth is a general law that represents, better than any other, the innermost structure of the universe. With its original perspective, Florensky’s philosophy is unique in the context of modern Russian thought, but also in the history of philosophy per se.
19th & 20th Century Philosophy. --- Philosophy. --- Florenskiĭ, P. A.
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Mathematics in literature. --- Russian literature --- History and criticism. --- Florenskiĭ, P. A., --- Khlebnikov, Velimir, --- Kharms, Daniil,
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Le mathématicien et théologien P. Florenski (1882-1937) met en cause les fondements de la perspective et avec eux la conception classique de l'histoire de l'art qui place la Renaissance au dessus de toutes les autres périodes. Il étudie les icônes, l'art égyptien, l'art grec, l'art médiéval et même l'art des enfants, caractérisés par l'absence de point focal.
Perspective --- Icons, Russian --- Icon painting --- Icônes russes --- Peinture d'icônes --- Technique --- Florenskiĭ, P. A.
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"This book considers a movement within Russian religious philosophy known as full unity (vseedinstvo), with a focus on one of its main representatives, Pavel Florensky (1882-1937). Often referred to as "the Russian Leonardo", Florensky was an important figure of the Russian religious renaissance around the beginning of the twentieth century. It is shown that his philosophy, conceptualized in his theory of the icon, brings together the problem of the "religious turn" and the "pictorial turn" in modern culture, as well as contributing to contemporary debates on religion and secularism. Organised around the themes of full unity and visuality, the book examines Florensky's definition of the icon as "energetic symbol," drawing on Gregory Palamas, before offering a theological reading of Florensky's theory of the pictorial space of the icon. It then turns to Florensky's idea of space in the icon as non-Euclidean. Finally, the icon is placed within wider debates provoked by Bolshevik cultural policy, which extend to current discussions concerning religion, modernity, and art. Offering an important contribution from Russian religious philosophy to issues of contemporary modernity, this book will be of interest to scholars of religious philosophy, Russian studies, theology and the arts, and the medieval icon"--
Icons --- Philosophical theology --- Philosophy and religion --- Philosophy, Russian --- Florenskiĭ, P. A.
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