Thinking of(f) the Crisis - International Conference, Programme

Bogoslovni Vestnik, 2018

This article analyzes both the historical roots and anthropological/ethical implications of the Byzantine, Eastern Orthodox interpretations of the imago Dei. Byzantine anthropology is contrasted with other anthropological approaches and emphasis is laid on the notion that by integrating all cognitive concepts of the main currents in Greek philosophy, Orthodox theology in Byzantium rejected autonomous anthropology. Byzantine thinkers give the human being great value because he is the crown of creation, initiated into the mysteries of the invisible creation and the king of the visible creation – due to his being created in God’s image. It is, however, not only the common origin that unites people into one family, but also the purpose of their existence which is the activation of their potential to achieve God’s likeness with the help of God’s grace. This means that the goal of the human being is to rise from plain biological existence into a fellowship of people in harmony with the whole creation. The participation of humans in the condition of a transcendent Fall is considered in conjunction with the danger of Gnosticism with which the Byzantine fathers had to come to terms with.

In: VELUŠČEK, Anton (ur.) The Ljubljansko barje in the 2nd half of the 4th millennium BC, Opera Instituti archaeologici Sloveniae 16, IzA ZRC SAZU, Ljubljana, 167-175, 2009

In 2006, we discovered remains of a pile-dwelling settlement Veliki Otavnik Ib during underwater survey of the riverbed of the Bistra stream at the Ljubljansko barje, not far from the foot of the mountainous Karstic fringe. Dendrochronological analysis of wooden foundation piles showed that the settlement dates to the horizon of pile-dwellings from 4th millennium BC and that is contemporary with the settlement Stare gmajne.

The Syntax of Colophons: A Comparative Study across Pothi Manuscripts, 2022

The present study examines colophons in fourteenth-century Nepalese manuscripts. More precisely, it focuses on manuscripts written between 1320 and 1395 CE as part of an ongoing research about the cultural history of Nepal in this pivotal century, particularly its second half. The first part of the article is devoted to a discussion of the Sanskrit terminology for colophon and an explanation of how to distinguish colophons from other paratextual material in manuscripts. The second part provides general remarks on the syntax of Nepalese colophons including a detailed analysis of sixteen elements occurring in the colophons. The third part consists of diplomatic editions of colophons from the corpus considered for this study. The article concludes with short preliminary conclusions based on the material examined.

2000

Fundamentos de hidráulica Lab-Volt

The Cambridge History of the Kurds is an authoritative and comprehensive volume exploring the social, political and economic features, forces and evolution amongst the Kurds, and in the region known as Kurdistan, from the fifteenth to the twenty-first century. Written in a clear and accessible style by leading scholars in the field, the chapters survey key issues and themes vital to any understanding of the Kurds and Kurdistan including Kurdish language; Kurdish art, culture and literature; Kurdistan in the age of empires; political, social and religious movements in Kurdistan; and domestic political developments in the twentieth and twenty-first centuries. Other chapters on gender, diaspora, political economy, tribes, cinema and folklore offer fresh perspectives on the Kurds and Kurdistan as well as neatly meeting an exigent need in Middle Eastern studies. Situating contemporary developments taking place in Kurdish-majority regions within broader histories of the region, it forms a...

Resistance and avant-garde are the focus of this essay's analysis, to investigate the problematic and elusive meaning of art. This singular phenomenon always appears in an evasive way, resistant to being classified in a categorical manner. It may be suggested that 'the artistic' swings between social customs and certain emancipatory tendencies, which reconfigures the entire human experience. Following several clues to classify these divided results in a revision of art as a critical exercise in society and expanding its forces to non-artistic territories. Without doubt, avant-garde leads to expressive dynamics that emerge in everyday environments in the midst of contemporary life. In other words, it's a question of thinking about how aesthetics operates in everyday life, beyond Art?