Samuel Johnson's Eternal Return , by Martin Riker (Coffee House) .
|
|
However, they've never attempted anything as massive as the House of Eternal Return.
|
|
Launched in March 2016, the House of Eternal Return was a relative overnight success.
|
|
Maybe circular time, the eternal return, could cease and turn linear, toward exodus and deliverance.
|
|
" I don't think we realized it was going to be more like "The Eternal Return.
|
|
To paraphrase crudely: eternal return dictates that all existence must recur endlessly, never improving or changing.
|
|
Meow Wolf's House of Eternal Return and associated art complex are located at 1352 Rufina Circle (Santa Fe).
|
|
There are 2503 distinct yet interconnected spaces in House of Eternal Return, each more eccentric and whimsical than the last.
|
|
Lightness states that, in fact, eternal return is impossible, that existence is unburdened, and that everything is fleeting and insignificant.
|
|
But for this river, at this delta, the sense of an eternal return is lessened, that of an ending heightened.
|
|
One could argue that another form of "eternal return"—the commercial recurrence of the lifelike android—afflicts the genre's consumers.
|
|
House of Eternal Return is a creative free-for-all, like falling into a dream or sliding down a rabbit hole.
|
|
Meow Wolf's House of Eternal Return in Santa Fe, New Mexico holds regular open hours, special events, concerts, and educational programs.
|
|
Some, myself included, have been critical of the vaguely colonial subtext that underlies its permanent installation titled the House of Eternal Return.
|
|
The house is the gateway to arts collective Meow Wolf's highly anticipated new permanent exhibition, the 20,000-square-foot House of Eternal Return.
|
|
Coming, coming, and coming again, the tides repeat Nietzsche's recurring passion for Dionysus, sustain his vision of the eternal return of heroic times.
|
|
If America is in a cycle of eternal return to the grip of racist violence and oppression, how can the cycle be broken?
|
|
This is the safe course that many performing-arts groups are choosing in precarious times: the eternal return to the world that was.
|
|
Meow Wolf was established as an art collective in 2008, and in 2016 they opened their first permanent installation, The House of Eternal Return, inside a 20,000-square-foot renovated industrial space in Santa Fe. The House of Eternal Return operates as an immersive "Choose Your Own Adventure" novel, offering visitors numerous points of entry into a fantastical and richly layered world.
|
|
It's also true that Meow Wolf's artists are mostly white, and that the family who lives in House of Eternal Return is white, too.
|
|
To back up a little bit, Meow Wolf is an immersive company based in Santa Fe, best known for its massive, interactive exhibit House of Eternal Return.
|
|
Maybe I am one of only a few people who can spend an hour in the Rothko Chapel as easily as in The House of Eternal Return.
|
|
Advertise on Hyperallergic with Nectar Ads MIAMI — In Milan Kundera's 1984 novel, The Unbearable Lightness of Being, he examines Friedrich Nietzsche's concept of eternal return and its inverse, lightness.
|
|
In our afternoon chat, he racks up a few more, nodding to Pet Sounds, the Nietzschean concept of eternal return, the Japanese avant-ecstatics in Boredoms, and Rick & Morty.
|
|
Instagram is full of images of technicolor tree trunks, interdimensional fridges, and glow-in-the-dark dinosaur skeletons found within Santa Fe, NM selfie kingdom The House of Eternal Return .
|
|
Instagram is full of images of technicolor tree trunks, interdimensional fridges, and glow-in-the-dark dinosaur skeletons found within Santa Fe, NM selfie kingdom The House of Eternal Return .
|
|
Meow Wolf raised $2.5 million dollars for House of Eternal Return on Kickstarter and benefitted from a $3.5 million dollar purchase by Martin of the building which it now occupies.
|
|
Part commentary on what's real and what's not in an increasingly "virtual" age, and part good old-fashioned mystery-solving, the "House of Eternal Return" is Meow Wolf's first permanent exhibit.
|
|
As an artist and maker, as well as a writer and someone who understands the deeply rooted desire to touch the art, I was heartened to discover The House of Eternal Return.
|
|
At the House of Eternal Return, I saw the ticket line stretching out the door toward the giant metal sculptures of a wolf and a robot smelling a flower in the parking lot.
|
|
To ask myself the question of the eternal return is to wonder about the worth of what I have done, to inquire whether it would stand the test of being done innumerable times again.
|
|
The 20,000-square-foot art space, a former bowling ally, is now called the House of Eternal Return, and is saturated with psychedelic patterns, light shows, sculptures, and high concepts perfect for elevated minds.
|
|
"House of Eternal Return," a permanent installation funded by "Game of Thrones" author George R.R. Martin, takes guests on a surreal odyssey through a maximalist landscape of giant trees, musical objects, and hidden passages.
|
|
Perhaps the only thing more disorienting than visiting the art collective Meow Wolf's permanent art installation, the House of Eternal Return, is getting a Skype tour of the place, which is what I recently received.
|
|
"VR arcades," are growing in number, and they seem like an obvious fit with the recent upsurge of immersive theater such as Punchdrunk's Sleep No More, Meow Wolf's House of Eternal Return, and The Latitude.
|
|
A series of works examines time everlasting and the philosophical idea of "eternal return" through a bunch of carefully chosen historic elements in Chicago-based visual artist Claudia Hart's first solo exhibition with TRANSFER Gallery.
|
|
The permanent prominence of Al Sharpton and the eternal return of Michael Moore testify to certain unsuccessful reckonings, and the grass-roots left can be as amenable to conspiracy theories as the grass-roots right.
|
|
Outraged by the rise of Geert Wilders and his far-right Freedom Party in the Netherlands, Riemen wrote an acidic pamphlet, "The Eternal Return of Fascism," in 2010 that provoked alarm and sparked debate across Europe.
|
|
It is easy to imagine this model being applied any number of ways — and indeed, the success of The House of Eternal Return has officially led to a new Meow Wolf wonderland that will be located in Denver.
|
|
Tombstone had recovered, and was a tourist destination visited by almost half a million people a year, though in many ways it was also a ghost town, a kind of Hades, ruled by the law of eternal return.
|
|
In 2013 he painted "Eternal Return 3," in which masses of people converge on the cityscape of Manhattan under a black night sky, with the ghosts of the Twin Towers glowing in the top center of the canvas.
|
|
Besides House of Eternal Return, the complex includes artist studios, workshops, a gift shop, interactive classrooms (which are the site of Chimera, Meow Wolf's educational arm), traditional galleries, and event spaces — you can even have your birthday party there.
|
|
They can be confused by their fates, as in Martin Riker's new novel, "Samuel Johnson's Eternal Return," in which a man is unsettled to discover that his essence has migrated into the body of the man who killed him.
|
|
In January 2014, Martin — the "Game of Thrones" creator and a Santa Fe resident — bought the structure, and provided an additional $3 million in renovations, to support the creation of the Meow Wolf Complex and the House of Eternal Return.
|
|
This turn yields Nietzsche's most controversial concepts: the announcement of the death of God; the "eternal return," which frames existence in terms of endlessly repeating cycles; and the will to power, which involves a ceaseless struggle for survival and mastery.
|
|
The motel is just three miles from the 409-year-old Santa Fe Plaza, and a mile and a half from the art collective Meow Wolf, which recently opened new installations — including laser murals by Tim Jag — at their House of Eternal Return.
|
|
The idea of the eternal return—the prospect of having to live one's life over and over, every detail repeated, every pain alongside every joy—becomes all the more potent when one thinks about having to relive that life, to its terrible end.
|
|
For me to be able to ask the question of the eternal return already supposes that I have come into existence; and the question may arise of whether I should affirm the conditions that brought me into existence, not innumerable times but even once.
|
|
Whether you think the coincidence makes Mr. Cagli look "new" (as in prescient) or Ms. Auerbach look "old" (as in been-there) probably comes down to whether you're cheered or dispirited by the now-popular notion that art history is entirely a history of eternal return.
|
|
El crítico Parul Sehgal reflexiona [en inglés] sobre la vigencia del género desde clásicos como Otra vuelta de tuerca y La maldición de Hill House (la novela de Shirley Jackson recreada en la serie de Netflix) hasta libros recientes como Lincoln en el Bardo, Samuel Johnson's Eternal Return y The Refugees.
|
|
A mention of that Samuel Johnson does appear toward the end of "Samuel Johnson's Eternal Return," Martin Riker's darkly inventive debut novel, as though to reassure the reader that she isn't insane to wonder if the titular character would turn out to have some connection to the 18th-century lexicographer.
|
|
Its immersive art installation/concert venue, House of Eternal Return (picture Yellow Submarine reimagined by Isaac Asimov), has brought hundreds of thousands of visitors to the New Mexico capital, generating enough revenue to pay its hive of DIY artists a livable wage with benefits, and to expand its mind-bending attractions to five new cities.
|
|
It has become an employee-owned company with a revenue-sharing plan for the more than 135 artists who created the vast 20,000-square-foot permanent installation called House of Eternal Return, in the process forging a path for a new business model to support artists: a hybrid blend of art and entertainment that sells immersive experiences rather than artwork.
|
|
One of the most provocative approaches to this question comes from Friedrich Nietzsche, whose doctrine of the eternal return asks this: "What if some day or night a demon were to steal after you into your loneliest loneliness and say to you: 'This life as you now live it and have lived it, you will have to live once more and innumerable times more'"?
|
|
House of Eternal Return is ambitious and imperfect; the prevailing sense from visitors seems to be that they can't believe an exhibition of this scale and novelty exists in Santa Fe. Meow Wolf CEO Vince Kadlubek told Hyperallergic that in order to turn a profit, the complex will have to clear 125,000 visitors a year; for perspective, the Georgia O'Keeffe Museum, the biggest game in town, drew 159,000 visitors in 2014.
|
|
Described by 33-year-old CEO Vince Kadlubek as the "inside [of] a sci-fi novel," the House of Eternal Return is many things: a psychedelic art space, a bar, an educational center, a ceramics studio, and an elaborate music venue (with a half school-bus upper deck), featuring a slew of dream-like elements such as black-light carpeting, a laser harp, pneumatic doors, and a 20-foot climbable lookout tower.
|
|
"Liner Notes: Darkest Hour, 'The Eternal Return'". Express Night Out. Retrieved on July 6, 2009.
|
|
In short, Kirk sees Eliade's theory of eternal return as a universalization of the Australian Dreamtime concept. As two counterexamples to the eternal return, Kirk cites Native American mythology and Greek mythology. The eternal return is nostalgic: by retelling and reenacting mythical events, Australian Aborigines aim to evoke and relive the Dreamtime. However, Kirk believes that Native American myths "are not evocative or nostalgic in tone, but tend to be detailed and severely practical".
|
|
Brave Words & Bloody Knuckles. Retrieved on June 6, 2009. The Eternal Return sold 4,700 copies in its first week of release, allowing the album to peak at 104 on the Billboard 200."DARKEST HOUR: 'The Eternal Return' First-Week Sales Revealed - July 1, 2009". Blabbermouth.net.
|
|
"Luxurious" is a song by Australian singer-songwriter Sarah Blasko from her fifth studio album Eternal Return.
|
|
In Kirk's view, Eliade derived his theory of eternal return from the functions of Australian Aboriginal mythology and then proceeded to apply the theory to other mythologies to which it did not apply. For example, Kirk argues that the eternal return does not accurately describe the functions of Native American or Greek mythology.
|
|
Two tracks, 'I'd be Lost' and 'Only One', were made available on iTunes and music streaming services in the weeks before the release of Eternal Return. On 11 October Sarah Blasko performed songs from Eternal Return at the Sydney Opera House as part of the Graphic Festival. On 4 November Sarah Blasko announced the dates for a tour that would include nine performances across Australia beginning in Canberra on 6 April 2016 and concluding in Perth on 30 April 2016. Six music videos were also released to promote Eternal Return.
|
|
On November 29, 2018, the documentary Meow Wolf: Origin Story was released in movie theaters around the United States in a one-time only showing. On January 8, 2019, rock band The Revivalists shot a music video for their song Change at House of Eternal Return. The video was released on February 19, 2019. Ninja Sex Party have filmed music videos at House of Eternal Return for their cover of Africa by Toto and We Built This City by Starship In March 2019, rapper T-Pain filmed a music video for his song A Million Times at House of Eternal Return.
|
|
His ideas are arguably more unsettling than Mainländer's notion of a will-to-die, yet strangely similar to Friedrich Nietszche's idea of the eternal return.
|
|
According to Eliade, traditional man feels that things "acquire their reality, their identity, only to the extent of their participation in a transcendent reality".Eliade, The Myth of the Eternal Return, p.5 To traditional man, the profane world is "meaningless", and a thing rises out of the profane world only by conforming to an ideal, mythical model.Eliade, The Myth of the Eternal Return, p.
|
|
To some, the theory of the eternal return may suggest a view of traditional societies as stagnant and unimaginative, afraid to try anything new. However, Eliade argues that the eternal return does not lead to "a total cultural immobility".Myth and Reality, p. 140 If it did, traditional societies would never have changed or evolved, and "ethnology knows of no single people that has not changed in the course of time".
|
|
Milan Kundera's 1984 novel The Unbearable Lightness of Being is an exploration of the concept of Lightness. Kundera uses Friedrich Nietzsche's doctrine of the Eternal Return to illustrate Lightness. Eternal Return dictates that all things in existence recur over and over again for all eternity. This is to say that human history is a preset circle without progress, the same events arising perpetually and doomed never to alter or to improve.
|
|
Windhand is an American doom metal band formed in Richmond, Virginia in 2008. Currently signed to Relapse Records, Windhand released their most recent album, Eternal Return, in October 2018.
|
|
6 Blasko collaborated with Nick Wales, a Sydney-based composer, to co-create the soundtrack for Emergence, a theatre dance performance. The album of the same name was issued in May 2015 by Blasko and Wales. In August 2015 Blasko announced that her fifth studio album, Eternal Return, was due for release in November with a preview in September–October at the Sydney Opera House. On 6 November 2015 Eternal Return was released.
|
|
The "eternal return" is an idea for interpreting religious behavior proposed by the historian Mircea Eliade; it is a belief expressed through behavior (sometimes implicitly, but often explicitly) that one is able to become contemporary with or return to the "mythical age"—the time when the events described in one's myths occurred.Wendy Doniger, "Foreword to the 2004 Edition", Eliade, Shamanism, p. xiii It should be distinguished from the philosophical concept of eternal return.
|
|
"DARKEST HOUR: 'The Eternal Return' Track Listing Revealed - May 26, 2009". Blabbermouth.net. Retrieved on May 26, 2009. In an interview with Baltimore's 98 Rock, Schleibaum described the album as more "pissed off" and "badass." He commented on Darkest Hour's previous recording sessions where the band had tried to push the direction of their sound to be more "melodic" and "proggier," but with The Eternal Return they wanted to make a more aggressive and "energetic" record.
|
|
In March 2009, Darkest Hour began to record the new album, The Eternal Return, just before co-headlining (along with Bleeding Through) the Thrash and Burn European Tour 2009 in April and May. The Eternal Return was released on June 23, 2009, two weeks later than originally announced. Darkest Hour then went on to play the 2009 Summer Slaughter Tour. They supported Trivium for the first leg of the North American into the Mouth of Hell We March Tour.
|
|
The mere fact that traditional societies have colonized new lands and invented new technologies proves that the eternal return hasn't suppressed their sense of initiative.Myth and Reality, p. 141 Far from suppressing creativity, Eliade argues, the eternal return promotes it: > There is no reason to hesitate before setting out on a sea voyage, because > the mythical Hero has already made [such a voyage] in the fabulous Time. All > that is needed is to follow his example.
|
|
Without the Sacred to confer an absolute, objective value upon historical events, modern man is left with "a relativistic or nihilistic view of history" and a resulting "spiritual aridity".Eliade, The Myth of the Eternal Return, p.152 In chapter 4 ("The Terror of History") of The Myth of the Eternal Return and chapter 9 ("Religious Symbolism and the Modern Man's Anxiety") of Myths, Dreams, and Mysteries, Eliade argues at length that the rejection of religious thought is a primary cause of modern man's anxieties.
|
|
Not merely to > bear the necessary, still less to conceal it—all idealism is mendaciousness > before the necessary—but to love it. In Carl Jung's seminar on Thus Spoke Zarathustra, Jung claims that the dwarf states the idea of the eternal return before Zarathustra finishes his argument of the eternal return when the dwarf says, "'Everything straight lies,' murmured the dwarf disdainfully. 'All truth is crooked, time itself is a circle.'" However, Zarathustra rebuffs the dwarf in the following paragraph, warning him against the spirit of gravity.
|
|
43, Repetition p. 137, Either/Or Part II, Hong p. 348 His idea of the eternal is comparable to Nietzsche's idea of eternal return, only backwards. Niels Nymann Eriksen has written about Kierkegaard's category of repetition.
|
|
2015"Angela Grossmann Eternal return." . Monte Cristo Magazine, July 12, 2016 Sunshine Frère Grossman is a co-founder of the Portfolio Prize Foundation, an organization which financially supports emerging artists."Town Talk: From budding to benefactors" .
|
|
Cocteau's longest- lasting relationships were with French actors Jean Marais and Édouard Dermit, whom Cocteau formally adopted. Cocteau cast Marais in The Eternal Return (1943), Beauty and the Beast (1946), Ruy Blas (1947), and Orpheus (1949).
|
|
Eternal Return is the fourth studio album by doom metal band Windhand. It was released on 5 October 2018 by Relapse Records. The album was produced by Jack Endino and is the band's first without founding guitarist Asechiah Bogdan.
|
|
The Eternal Return of Antonis Paraskevas (, translit. I aionia epistrofi tou Antoni Paraskeua) is a 2013 Greek drama film written and directed by Elina Psikou. It was screened in the City to City section at the 2013 Toronto International Film Festival.
|
|
Although not distinctly psychological, allusions to the theories of Friedrich Nietzsche are also found in the game. For example, there is the concept of the eternal return, which, in Xenogears, correlates to the recurrences of the Contact and the Antitype.
|
|
Eternal Return is the fifth studio album by ARIA award-winning Australian singer-songwriter Sarah Blasko. The album was released on 6 November 2015 through EMI in Australia and Amazon in the US, and in the UK on 5 February 2016 through MVKA.
|
|
The myth of eternal return and the Phoenix as its symbol was a motif employed by the Syrian poet Adonis in the poem Resurrection and Ashes: Adonis connects the Phoenix with the myth of Tammuz who fertilizes the land with his blood.
|
|
The band hoped to make The Eternal Return an aggressive metal album with "no hidden agenda, no pop hit, or stylistic departure to broaden the fan base.""DARKEST HOUR: New Album Release Date Announced - Apr. 14, 2009". Blabbermouth.net. Retrieved on May 9, 2009.
|
|
He was convinced that the repeat of mistakes, the return of the same was not inevitable. Instead of pessimism (which would have been understandable), a democratic optimism prevailed.See: “Comparative Politics: The Myth of the Eternal Return”, in: PS: Political Science and Politics, , vol. 23, no.
|
|
"Eternal return" (also known as "eternal recurrence") is a hypothetical concept that posits that the universe has been recurring, and will continue to recur, for an infinite number of times across infinite time or space. It is a purely physical concept, involving no supernatural reincarnation, but the return of beings in the same bodies. Nietzsche first proposed the idea of eternal return in a parable in Section 341 of The Gay Science, and also in the chapter "Of the Vision and the Riddle" in Thus Spoke Zarathustra, among other places. Nietzsche considered it as potentially "horrifying and paralyzing", and said that its burden is the "heaviest weight" imaginable (" das schwerste Gewicht").
|
|
Although immensely influential in religious studies, the ideas behind Eliade's hypothesis of the eternal return are less well accepted in anthropology and sociology. According to the classicist G. S. Kirk, this is because Eliade overextends the application of his ideas: for example, Eliade claims that the modern myth of the "noble savage" results from the religious tendency to idealize the primordial, mythical age.Kirk, Myth, footnote, p. 255 Kirk claims that Eliade's relative unpopularity among anthropologists and sociologists also results from Eliade's assumption—essential for belief in the eternal return as Eliade formulates it—that primitive and archaic cultures had concepts such as "being" and "real", although they lacked words for them.
|
|
The emptiness of Sabina's life in 'The Unbearable Lightness Of Being', and that she wanted to "die in lightness" — which is to say that she is indifferent to her life — shows that she would not want to repeat her life and would not accept an eternal return.
|
|
54–56 Often he has no cult and receives prayer only as a last resort, when all else has failed.Eliade, Myths, Dreams and Mysteries, p.134–36; The Myth of the Eternal Return, p.97 Eliade calls the distant High God a deus otiosus ("idle god").
|
|
He just heard and obeyed. The Young Man made a promise and wanted to change his mind. He consulted with a psychologist who was engaged in trying to prove the theory of eternal return. Then he appealed to Job and complained not only to the world but also to God himself.
|
|
Unlike in The Worker, which relies on the nihilist conceptions of Friedrich Nietzsche and the eternal return, Jünger here supports a "spiral theory of history". He also criticises Oswald Spengler's study of the cycles of civilisation as insufficient, as it only points out similarities without addressing the source of the similarities.
|
|
"I'd Be Lost" and "Only One" are two songs recorded by Australian singer- songwriter Sarah Blasko for her fifth studio album Eternal Return. Both songs premiered on 13 September 2015 during Richard Kingsmill's new music segment on Triple J and were released as a double A-side on 18 September 2015.
|
|
In September 2008, prior to the recording of The Eternal Return, Darkest Hour parted ways with lead guitarist Kris Norris, making this the first album since 2001's So Sedated, So Secure to not feature Norris."DARKEST HOUR: New Video Message Available - Feb. 27, 2009". Blabbermouth.net. Retrieved on May 9, 2009.
|
|
Adeodato Barreto Júlio Francisco António Adeodato Barreto (3 December 1905 – 6 August 1937), better known as Adeodato Barreto, was a Luso-Goan poet and writer. His works include important archetypes and paradigms from Hindu culture. In his poems there are notions of eternal return and transmigration, which are considered anchors of Indian philosophy.
|
|
Schroeder recycles Friedrich Nietzsche's myth of the eternal return to critique all organized religion with a plot device he describes as the Supreme Meme. The philosophic question asked is whether or not the subject would choose to relive the same life over again "exactly as it was, no detail spared?" (pp. 232–233).
|
|
Mircea Eliade "The myth of the eternal return" Princeton: Princeton University Press (1971 Bollingen paperback edition) p. 104. All the pieces are falling into place for history's end-game. The chastisement of Adam is reversed by Christ, our second Adam. The defilement of Eve is reversed by the immaculate conception which restores purity.
|
|
One traditional depiction of the cherubim and chariot vision, based on the description by Ezekiel. According to Mircea Eliade, many traditional societies have a cyclic sense of time, periodically reenacting mythical events.Eliade, Myths, Rites, Symbols, vol. 1, 72-73 Through this reenactment, these societies achieve an "eternal return" to the mythical age.
|
|
Howard Eiland and Kevin McLaughlin. Cambridge: Belknap-Harvard, 2002. See chapter D, "Boredom Eternal Return," pp. 101-119. However, Gustave Le Bon is not quoted anywhere in Nietzsche's manuscripts; and Auguste Blanqui was named only in 1883. Vogt's work, on the other hand, was read by Nietzsche during this summer of 1881 in Sils-Maria.
|
|
Jill Marsden (born 1964) is a scholar of the work of German philosopher Friedrich Wilhelm Nietzsche. Marsden, from Nottingham, took her BA, MA and PhD from the University of Essex. Her doctoral thesis explored Nietzsche's Doctrine of Eternal Return. In 2002, Marsden's first book, After Nietzsche: Notes Towards a Philosophy of Ecstasy, was published by Palgrave Macmillan.
|
|
New York: Harper Torchbooks. p. 21. According to this view, all things need to imitate or conform to the sacred models established by hierophanies, in order to have true reality: things "acquire their reality, their identity, only to the extent of their participation in a transcendent reality."Eliade, Mircea. 1959. Cosmos and History: The Myth of the Eternal Return.
|
|
Founding guitarist Asechiah Bogdan then left the band and was not replaced. In early 2018, Windhand released the split EP Windhand / Satan's Satyrs with fellow Virginia band Satan's Satyrs. This EP reached No. 11 on the Billboard Heatseekers Albums chart. Their fourth full-length album Eternal Return, again with Endino producing, was released in October 2018.
|
|
The composition went smoothly for the team, with each member stimulating the other. Vocals for the main theme "Eternal Return" were provided by Aubrey Ashburn, a frequent collaborator with Zur. Ashburn was brought on board after the theme was written and recorded using a substitute vocal track. During recording, she had instructions via a livestream from the production team.
|
|
Kundera's most famous work, The Unbearable Lightness of Being, was published in 1984. The book chronicles the fragile nature of an individual's fate, theorizing that a single lifetime is insignificant in the scope of Nietzsche's concept of eternal return. In an infinite universe, everything is guaranteed to recur infinitely. In 1988, American director Philip Kaufman released a film adaptation.
|
|
"DARKEST HOUR Guitarist Interviewed On Baltimore's 98ROCK; Audio Available - June 4, 2009". Blabbermouth.net. Retrieved on June 5, 2009. Darkest Hour and Victory Records also set up a contest for the release of The Eternal Return dubbed "The Eternal Giveaway". Each first pressing physical copy of the album contained a Victory Metal bonus insert with a unique code.
|
|
Some have suggested that the eternal return is related to the overman, since willing, the eternal return of the same is a necessary step if the overman is to create new values, untainted by the spirit of gravity or asceticism. Values involve a rank-ordering of things, and so are inseparable from approval and disapproval, yet it was dissatisfaction that prompted men to seek refuge in other-worldliness and embrace other-worldly values. It could seem that the overman, in being devoted to any values at all, would necessarily fail to create values that did not share some bit of asceticism. Willing the eternal recurrence is presented as accepting the existence of the low while still recognizing it as the low, and thus as overcoming the spirit of gravity or asceticism.
|
|
Mysterious events happen in Crimea during the collapse of the Soviet Union. NO-ONE is a family revenge story that turns into a parable of eternal return and historical guilt. The main character is a talented and artistically gifted KGB general who has no illusions about the world he belongs to. He profoundly despises it, constantly changing masks and roles.
|
|
Friedrich Nietzsche, first influenced by Schopenhauer, developed afterward quite another attitude, arguing that the suffering of life is productive, exalting the will to power, despising weak compassion or pity, and recommending us to embrace willfully the 'eternal return' of the greatest sufferings. Philosophy of pain is a philosophical speciality that focuses on physical pain and is, through that, relevant to suffering in general.
|
|
Kirk thinks Eliade's theory of eternal return applies to some cultures. Specifically, he agrees that Australian Aborigines used myths and rituals "to bring the Dreamtime" (the Australian mythical age) "into the present with potent and fruitful results".Kirk, The Nature of Greek Myths, p. 64 However, Kirk argues, Eliade takes this Australian phenomenon and applies it to other cultures uncritically.
|
|
191 Finally, secular man still participates in something like the eternal return: by reading modern literature, "modern man succeeds in obtaining an 'escape from time' comparable to the 'emergence from time' effected by myths".Eliade, The Sacred and the Profane, p. 205; see also Eliade, Myth and Reality, p. 192 Eliade sees traces of religious thought even in secular academia.
|
|
It felt like > something special then and it does now too. The track is built around a bass progression fed through a Guyatone Tube Tremolo pedal while Blasko's vocals were recorded with a Neumann U47. Like the rest of the tracks on Eternal Return, lead vocals for the song were overdubbed late during Blasko's first pregnancy which made singing difficult.
|
|
Friedrich Nietzsche by Edvard Munch Eternal return (also known as eternal recurrence) is a concept that the universe and all existence and energy has been recurring, and will continue to recur, in a self-similar form an infinite number of times across infinite time or space. The concept is found in Indian philosophy and in ancient Egypt as well as Judaic wisdom literature (Ecclesiastes) and was subsequently taken up by the Pythagoreans and Stoics. With the decline of antiquity and the spread of Christianity, the concept largely fell into disuse in the Western world, with the exception of 19th Century philosopher Friedrich Nietzsche, who connected the thought to many of his other concepts, including amor fati. Eternal return relates in conjunction to the philosophy of predeterminism in that people are predestined to continue repeating the same events over and over again.
|
|
Allmusic gave the album four stars, calling it a "very solid metalcore/melodic death metal album" and that "Just about every other song here, though, features a hooky riff and a memorable -- if not "catchy" in the traditional pop chart sense—chorus". Blabbermouth.net was favourable, stating "The album has a sense of urgency about it that belies the band's veteran status and the energy level remains high because of it". Ultimate Guitar said "The Eternal Return, is their strongest, heaviest, and most innovative release to date", with a rating of (8.2/10). Staff reviewer for Sputnikmusic Channing Freeman was less favourable, commenting "While Darkest Hour didn't change much on The Eternal Return, it's still a great metal album that is catchy and fun while still being dark" giving the album three and a half out of five stars.
|
|
Mazzino Montinari, Friedrich Nietzsche (1974), 121. Gilles Deleuze also emphasized the connection between the will to power and eternal return. Both Jacques Derrida and Gilles Deleuze were careful to point out that the primary nature of will to power is unconscious. This means that the drive to power is always already at work unconsciously, perpetually advancing the will of the one over the other.
|
|
"If She Knew What She Wants" was introduced in 1985 on Jules Shear's second solo album,The Eternal Return, to critical acclaim.Montreal Gazette 9 May 1985 Record Roundup by John Griffin p.D-9Los Angeles Times 12 May 1985 "Record Rack" by Chris Willman p.57Newport News Daily Press 1 September 1985 "Record Bin" by Jory Farr p.I5Vancouver Province 1 September 1985 "Rock Records" by Tom Harrison p.
|
|
The Sacred > and the Profane, p. 73 The New Year ritual reenacts the mythical beginning of the cosmos. Therefore, by the logic of the eternal return, each New Year is the beginning of the cosmos. Thus, time flows in a closed circle, always returning to the sacred time celebrated during the New Year: the cosmos's entire duration is limited to one year, which repeats itself indefinitely.
|
|
Breure and Van Hulzen produced Ebedi Dönüş (Eternal Return) during their residency at the Garanti Platform in Istanbul. The video performance is inspired by the infinitive soap operas from Turkey. According to Breure's and Van Hulzen's research, the infinitive character of the soap operas results in circular stories, which is shown in Ebedi Dönüş. The circularity is approached by the scenario, which constantly repeats the same sentences.
|
|
Many ancient cultures held mythical and theological concepts of history and of time that were not linear. Such societies saw history as cyclical, with alternating Dark and Golden Ages. Plato taught the concept of the Great Year, and other Greeks spoke of aeons. Similar examples include the ancient doctrine of eternal return, which existed in Ancient Egypt, in the Indian religions, among the Greek Pythagoreans' and in the Stoics' conceptions.
|
|
Darkest Hour is an American heavy metal band from Washington, D.C., formed in 1995. Though failing to break early in their tenure, the band has received acclaim for their albums Undoing Ruin, Deliver Us, and The Eternal Return. Deliver Us debuted at number 110 on the Billboard album charts, with sales of 6,600,Blabbermouth.net, "Smashing Pumpkins, Darkest Hour, Danzig, Beatallica First-Week Sales Revealed" , Posted July 18, 2007.
|
|
In the Ascended Master Teachings, it is referred to as Ascension. The first six initiations were named by C.W. Leadbeater and Alice A. Bailey after the six most important events in the life of Jesus. According to Martin Euser, “Theosophy closes the gap between science and religion by positing reincarnation as a dynamic process [ unlike the concept of the eternal return ]. The first jewel concerns the doctrine of reincarnation or reembodiment.
|
|
Ellwood, p.1 In addition, Ellwood identifies Eliade's personal sense of nostalgia as a source for his interest in, or even his theories about, traditional societies.Ellwood, p.99, 117 He cites Eliade himself claiming to desire an "eternal return" like that by which traditional man returns to the mythical paradise: "My essential preoccupation is precisely the means of escaping History, of saving myself through symbol, myth, rite, archetypes".
|
|
Gilles Deleuze interpreted Nietzsche's Eternal Return as not simply a directive for our ethical behavior, but as a radical understanding of the nature of time. This is not a 'flat circle' or cyclical understanding of time, but a description of the empty form of future time. It is the ever-generated new time that allows us to continually act in new ways, that allows the creation of novelty.
|
|
The Eternal Return is the sixth studio album by American melodic death metal band Darkest Hour released on June 23, 2009 through Victory Records. The album was produced by Brian McTernan (Senses Fail, Thrice, From Autumn To Ashes) who had previously produced Darkest Hour's debut album The Mark of the Judas in 2000. The album fulfilled the band's contract with Victory, making it their last release through the label.Wickstrand, Philip.
|
|
Allmusic The band was then signed to UK label Resonant Records, who re-issued the album in Europe in 2006. The band then toured Europe and the UK, including performing at Belgium’s Rhaaa Lovely Festival, where they played alongside Deerhoof, 65daysofstatic, Piano Magic, Grails and 31knots. In November 2008, the band released their second album, Eternal Return, which is released on the band's own label, with digital licensing through London-based Diogenes Music.
|
|
The third layer of time still exists in the present, but it does so in a way that breaks free from the simple repetition of time. This level refers to an ultimate event so powerful that it becomes omnipresent. It is a great symbolic event, like the murder to be committed by Oedipus or Hamlet. Upon rising to this level, an actor effaces herself as such and joins the abstract realm of eternal return.
|
|
This thus creates the state of things in the observable or conscious world still operating through the same tension. Derrida is careful not to confine the will to power to human behavior, the mind, metaphysics, nor physical reality individually. It is the underlying life principle inaugurating all aspects of life and behavior, a self-preserving force. A sense of entropy and the eternal return, which are related, is always indissociable from the will to power.
|
|
Theophany (an appearance of a god) is a special case of it. In The Myth of the Eternal Return Eliade wrote that archaic men wish to participate in the sacred, and that they long to return to lost paradise outside the historic time to escape meaninglessness. The primitive man could not endure that his struggle to survive had no meaning. According to Eliade, man had a nostalgia (longing) for an otherworldly perfection.
|
|
Stoicism considers all existence as cyclical, the cosmos as eternally self-creating and self-destroying (see also Eternal return). Stoicism, just like Indian religions such as Hinduism, Buddhism, and Jainism, does not posit a beginning or end to the Universe. According to the Stoics, the logos was the active reason or anima mundi pervading and animating the entire Universe. It was conceived as material and is usually identified with God or Nature.
|
|
When first contacted about the project, Raychell was already familiar with Dragon's Dogma and daunted by the prospect of providing a new theme song. The lyrics were written by Raychell to convey the game's world, in addition to the dark atmosphere of the new dungeon. Makino created "Coils of Light" using the core melody of "Eternal Return", tying into the original soundtrack. The English version of "Coils of Light" was sung by William Montgomery.
|
|
This is in part due to the fact that even the can appear like an other-worldly hope. The lies in the future — no historical figures have ever been — and so still represents a sort of eschatological redemption in some future time. Stanley Rosen, on the other hand, suggests that the doctrine of eternal return is an esoteric ruse meant to save the concept of the from the charge of Idealism.Rosen, The Mask of Enlightenment.
|
|
Nietzsche and Philosophy () is a 1962 book about Friedrich Nietzsche by the philosopher Gilles Deleuze, in which the author treats Nietzsche as a systematically coherent philosopher, discussing concepts such as the will to power and the eternal return. Nietzsche and Philosophy is a celebrated and influential work. Its publication has been seen as a significant turning-point in French philosophy, which had previously given little consideration to Nietzsche as a serious philosopher.
|
|
In January 2015, author George R. R. Martin pledged $2.7 million to renovate and lease a vacant bowling alley to create a permanent facility for Meow Wolf. This was supplemented by additional funding, including $50,000 from the city of Santa Fe and $100,000 from a crowd-funding campaign. The installation, called House of Eternal Return opened March 17, 2016. It received a 2017 TEA Award and has been cited as the tenth best music venue in the United States.
|
|
He also published a metaphorical short story "Ōinaru Shōgo (The Great Noon)" () This story is a metaphorical fiction which refers to Friedrich Nietzsche's "Ewig Wiederkehren (Eternal return)". in the S-F Magazine, and thus he debuted as a writer and a critic. Aramaki wrote speculative and fantastic novels which were affected by New Wave science fiction and Surrealism. At the same time, he also wrote Space opera stories such as "Big Wars" series and so on.
|
|
Numerous books, special publications, promotional giveaways, and children's toys have been released with or intended for use with Chromadepth glasses as well, notably including Crayola and Melissa & Doug's lines of 3D art and toy products, and Disney's line of 3D Toy Story 3 products, among many others. The House of Eternal Return walk-in art installation in Santa Fe, New Mexico, USA has fluorescent murals and sculptures that are intended to have interesting effects when viewed through ChromaDepth glasses.
|
|
Mr Farrant and Mrs Ormund go out walking for the day. In their absence, Dr Görtler interrogates Mr Ormund about his life. His probing into Mr Ormund's emotional state induces the unhappy man to make a quasi-suicide attempt, fetching a revolver from his car and firing it into the ground. Upset by Dr Görtler's questions and by his expounding of a doctrine of eternal return to the landlord and guests, Sally and Mr Ormund demand that he leaves.
|
|
"Luxurious" was written by Blasko with close collaborators Ben Fletcher and David Hunt. It was recorded at The Grove Studios in Sydney under the supervision of Australian-based producer Burke Reid. Described by Blasko as "the most delicate song on the record", "Luxurious" is a torch song notable for being the only track off Eternal Return to not feature the album's distinct retro- futuristic sound. > I remember how still the room became when we stumbled upon it.
|
|
According to Darkest Hour lead guitarist and founding member Mike Schleibaum, Brian McTernan "helped solidify our sound and define us as a band. Eight years later, it's time to do it again. With all the scars of our past to guide us, we look towards a new future." During the Thrash and Burn European Tour 2009, Darkest Hour played "No God", the first song from The Eternal Return to be performed live prior to its release.
|
|
Meow Wolf is an arts and entertainment company that creates large-scale immersive art installations and produces arts and music festivals, music videos and streaming entertainment. The company was founded in 2008. Meow Wolf's attractions are located in Santa Fe and Denver, and additional attractions are slated to open in Las Vegas, Phoenix, and Washington DC. Its flagship attraction, House of Eternal Return in Santa Fe, is a 20,000-square- foot facility that includes an immersive art installation, learning center, and concert venue.
|
|
It has been seen as a Christian allegory with Punxsutawney Phil representing Jesus Christ, an example of the Nietzschean concept of the eternal return, the spirit of Judaism, and the essence of homeopathy. It has also been interpreted as an adaptation of the Greek mythological figure Sisyphus who is also condemned to an eternal, daily punishment. Others have found significance in the numbers present in the film. Ramis himself was fascinated by Rubin's original draft and its concepts of reincarnation.
|
|
Zarathustra is a progressive rock album released in 1973 by the Italian band Museo Rosenbach. It is generally regarded as one of the best Italian progressive rock works of all time. Controversially, the lyrics compose a concept album of Friedrich Nietzsche's philosophy, particularly his 1883-1885 novel Thus Spoke Zarathustra. The song titles translate into The Last Man, The King of Yesterday, Beyond Good and Evil, Übermensch, The Temple of Hourglasses, Of Man, Of Nature, and Of the Eternal Return.
|
|
"If She Knew What She Wants" is a song written by American singer-songwriter Jules Shear and introduced on his 1985 album The Eternal Return. The Bangles recorded the song for their 1986 album Different Light. That version, a call- and-response rendition with Susanna Hoffs as the main voice,Daily News-Journal (Murfreesboro TN) 2 February 1986 "Bangles' Four-Part Harmony Blends Well" by Tom Spigolin p.23 (Accent) was issued as a single and became a Top 40 hit.
|
|
In general, according to Eliade, traditional man sees the eternal return as something positive, even necessary. However, in some religions, such as Buddhism and certain forms of Hinduism, the traditional cyclic view of time becomes a source of terror: > In certain highly evolved societies, the intellectual élites progressively > detach themselves from the patterns of traditional religion. The periodical > resanctification of cosmic time then proves useless and without meaning. ... > But repetition emptied of its religious content necessarily leads to a > pessimistic vision of existence.
|
|
64–65, 169 However, Eliade's understanding of Judaeo-Christian eschatology can also be understood as cyclical in that the "end of time" is a return to God: "The final catastrophe will put an end to history, hence will restore man to eternity and beatitude."Eliade, The Myth of the Eternal Return, p.124 The pre-Islamic Persian religion of Zoroastrianism, which made a notable "contribution to the religious formation of the West",Eliade, A History of Religious Ideas, vol. 1, p.
|
|
Oxford: Oxford University Press. He also developed influential concepts such as the ' and the doctrine of eternal return. In his later work, he became increasingly preoccupied with the creative powers of the individual to overcome social, cultural and moral contexts in pursuit of new values and aesthetic health. His body of work touched a wide range of topics, including art, philology, history, religion, tragedy, culture, and science, and drew early inspiration from figures such as philosopher Arthur Schopenhauer, composer Richard Wagner, and writer Johann Wolfgang von Goethe.
|
|
The professor, Frithjof Bergmann, was lecturing that day on something that Solomon had not yet been acquainted with. The professor spoke of how Nietzsche's idea of the eternal return asks the fundamental question: "If given the opportunity to live your life over and over again ad infinitum, forced to go through all of the pain and the grief of existence, would you be overcome with despair? Or would you fall to your knees in gratitude?" After this lecture, Solomon quit medical school and began studies in philosophy.
|
|
By July she was touring with her backing band and Fletcher was also her support act. In 2015, at her preview show of Eternal Return, Blasko introduced an entirely new backing band. She was joined by Lawrence Pike on drums, Donny Benet on bass, Sarah Belkner on keys, autoharp and backing vocals, Neil Sutherland on keyboards and synthesizer and David Hunt on guitar and keyboards. In 2017, Blasko embarked on an extensive tour around metro and regional areas of Australia, performing solo to audiences.
|
|
Eliade, Myth and Reality, p.47–49 Eliade argues that yearning to remain in the mythical age causes a "terror of history": traditional man desires to escape the linear succession of events (which, Eliade indicated, he viewed as empty of any inherent value or sacrality). Eliade suggests that the abandonment of mythical thought and the full acceptance of linear, historical time, with its "terror", is one of the reasons for modern man's anxieties.Eliade, The Myth of the Eternal Return, Chapter 4; Myths, Dreams and Mysteries, p.
|
|
A representation of Paradise Faith in some form of afterlife is an important aspect of many people's beliefs. For example, one aspect of Hinduism involves belief in a continuing cycle of birth, life, death and rebirth (Samsara) and the liberation from the cycle (Moksha). Eternal return is a non-religious concept proposing an infinitely recurring cyclic universe, which relates to the subject of the afterlife and the nature of consciousness and time. Though various evidence has been advanced in attempts to demonstrate the reality of an afterlife, these claims have never been validated.
|
|
The text explores the imaginative possibilities for philosophy created by Nietzsche's sustained reflection on the phenomenon of "ecstasy". From The Birth of Tragedy (1872) to his experimental "physiology of art", Nietzsche examines the aesthetic, erotic and sacred dimensions of rapture, hinting at how an ecstatic philosophy is realized in his elusive doctrine of Eternal Return. Marsden's book pursues the implications of this legacy for contemporary continental thought via analyses of such voyages in ecstasy as Kant, Schopenhauer, Schreber and Bataille. Marsden is a senior lecturer in Philosophy at the University of Bolton.
|
|
68 Shear himself would say that he typically imparted his songs with "some little twist that makes [them] rise above" standard pop music fare, and "It doesn't really have to be too complicated to be a little bit different." Although passed over as lead single on The Eternal Return in favor of the Cyndi Lauper co-written "Steady" (whose Hot 100 peak was no. 57), "If She Knew What She Wants" was tagged as the potential followup with EMI, who sent promo copies to radio stations in June 1985.
|
|
Polybius Ancient western thinkers who had thought about recurrence had largely been concerned with cosmological rather than historic recurrence (see "eternal return", or "eternal recurrence").G.W. Trompf, The Idea of Historical Recurrence in Western Thought, pp. 6-15. Western philosophers and historians who have discussed various concepts of historic recurrence include the Greek Hellenistic historian Polybius (ca 200 – ca 118 BCE), the Greek historian and rhetorician Dionysius of Halicarnassus (c. 60 BCE – after 7 BCE), Luke the Evangelist, Niccolò Machiavelli (1469–1527), Giambattista Vico (1668–1744), Arnold J. Toynbee (1889–1975).
|
|
In January 2013, Jules and his wife, artist/songwriter Pal Shazar, released Shear Shazar. Produced by Julie Last, this is the first time Jules and Pal have made a full album together, though the two had recorded duets on Shear's albums before, such as "Here S/He Comes" on The Eternal Return and "Dreams Dissolve in Tears" on The Great Puzzle. This was followed later in the year by another Shear solo album, Longer to Get to Yesterday. In 2014 Shear Shazar followed up on their debut with the five cut EP Mess You Up.
|
|
Conference on Hermeneutics in History: Mircea Eliade, Joachim Wach, and the Science of Religions , at the University of Chicago Martin Marty Center. Institute for the Advanced Study of Religion ; retrieved July 29, 2007 Upon Wach's death before the lectures were delivered, Eliade was appointed as his replacement, becoming, in 1964, the Sewell Avery Distinguished Service Professor of the History of Religions. Beginning in 1954, with the first edition of his volume on Eternal Return, Eliade also enjoyed commercial success: the book went through several editions under different titles, which sold over 100,000 copies.McGuire, p.
|
|
260; citing "Archeofuturism", a concept coined by Faye in 1998, refers to the reconciliation of technoscience with "archaic values". He argues that the term "archaic" should be understood in its original Ancient Greek meaning as the 'foundation' or the 'beginning', not as an attachment to the past. According to Faye, anti-moderns and counter-revolutionaries are actually mirror-constructs of modernity, sharing the same biased linear conception of time. Defining his theories as "non-modern", Faye was influenced by Friedrich Nietzsche's concept of eternal return and Michel Maffesoli's postmodern sociological works.
|
|
For one week, starting June 23, 2009, the day of release, fans could enter their code into the Eternal Giveaway website to instantly win one of 50 prizes. Some of the prizes included clothing, musical equipment and instruments, tickets and backstage passes to Darkest Hour shows and a chance for Darkest Hour to play at the winner's house party. The Victory Metal insert also acted as a coupon for Darkest Hour merchandise."DARKEST HOUR - Pre-Order The Eternal Return And You Could Win Sick Prizes; More Details Revealed".
|
|
You Am I and Regurgitator have won the most awards in this category with two each. You Am I have received the most nominations with five followed by Dirty Three, Regurgitator and Spiderbait with three and Magic Dirt, Nick Cave and the Bad Seeds and Something for Kate with two. Martyn P. Casey, Nick Cave, Warren Ellis and Jim Sclavunos have earned three nominations each as members of Nick Cave and the Bad Seeds and Grinderman. Since the award's inception only six solo acts have been nominated with one artist, Sarah Blasko, winning in 2016 for her album Eternal Return.
|
|
As a member of Suyu Neomeo, a research community for humanities scholars in South Korea, Jin wrote two philosophy books, namely, Sunsuiseongbipan, iseongeul beopjeonge seuda (순수이성비판, 이성을 법정에 세우다 Critique of Pure Reason: Taking Reason to Court) (2004) and Niche, yeongweonhwegiwa chaieui cheolhak (니체, 영원회귀와 차이의 철학 Nietzsche, Eternal Return and the Philosophy of Difference) (2007). In 2008, her article "Gamgakjeogin geosui bunbae: 2000 nyeondae sie daehayeo" (감각적인 것의 분배: 2000년대 시에 대하여 Distribution of the Sensible: On the Poetry of the 2000s) was published.Eun- young Jin, "Distribution of the Sensible: On the Poetry of the 2000s," Changbi 36, no.
|
|
According to Eliade, this yearning to remain in the mythical age causes a "terror of history". Traditional man desires to escape the linear march of events, empty of any inherent value or sacrality. In Chapter 4 of The Myth of the Eternal Return (entitled "The Terror of History") and in the appendix to Myths, Dreams and Mysteries, Eliade suggests that the abandonment of mythical thought and the full acceptance of linear, historical time, with its "terror", is one of the reasons for modern man's anxieties. Traditional societies escape this anxiety to an extent, as they refuse to completely acknowledge historical time.
|
|
Wendy Doniger, Forward to Eliade, Shamanism, xiii According to Eliade, Christianity retains a sense of cyclical time, through the ritual commemoration of Christ's life and the imitation of Christ's actions; Eliade calls this sense of cyclical time a "mythical aspect" of Christianity.Eliade, Myths, Rites, Symbols, vol. 1, 78 However, Judeo-Christian thought also makes an "innovation of the first importance", Eliade says, because it embraces the notion of linear, historical time; in Christianity, "time is no longer [only] the circular Time of the Eternal Return; it has become linear and irreversible Time".Eliade, Myth and Reality, 65.
|
|
Mircea Eliade sees the Abrahamic religions as a turning point between the ancient, cyclic view of time and the modern, linear view of time, noting that, in their case, sacred events are not limited to a far-off primordial age, but continue throughout history: "time is no longer [only] the circular Time of the Eternal Return; it has become linear and irreversible Time".Eliade, Myth and Reality, p. 65 He thus sees in Christianity the ultimate example of a religion embracing linear, historical time. When God is born as a man, into the stream of history, "all history becomes a theophany".
|
|
134 This is an example of the Sacred's distance from "profane" life, life lived after the mythical age: by escaping from the profane condition through religious behavior, figures such as the shaman return to the conditions of the mythical age, which include nearness to the High God ("by his flight or ascension, the shaman [...] meets the God of Heaven face to face and speaks directly to him, as man sometimes did in illo tempore").Eliade, Myths, Dreams and Mysteries, p.66 The shamanistic behaviors surrounding the High God are a particularly clear example of the eternal return.
|
|
He also believed that there was a significant contrast between Nietzsche's views and those of Deleuze. Ronald Bogue observed that Nietzsche and Philosophy marked a significant turning- point in French philosophy, which had previously given little consideration to Nietzsche as a serious philosopher. He credited Deleuze with being one of the first commentators to discuss the concepts of the will to power and the eternal return carefully, and wrote that he raised questions that became central to Nietzsche studies and to French post-structuralism. He added that many of the central themes of Deleuze's later work were first stated in Nietzsche and Philosophy.
|
|
First's interest in electronic media led to the production of some of his most important and widely performed works, including Tantrum (1992-amplified mandolin and tape), I' vidi in terra angelici (1990-mezzo-soprano and tape) on Petrarch sonnets, and Zu wissen was kein Engel weiss (1990-double orchestra and quadrophonic tape). His most recent music includes The Eternal Return, a multimedia work for five ensembles and five films created by New York filmmaker Matt Marello. His work was recently included in the New York Museum of Modern Art "America in Berlin" exhibition at the Berlin Academy of Art.
|
|
The Charon zoetrope is built to resemble and rotate in the same kinetic fashion as a ferris wheel, stands at 32 feet high, weighs 8 tons and features twenty rowing skeleton figures representing the mythological character, Charon, who carries souls of the newly deceased across the river Styx. Hudson's most recent zoetrope creation is entitled Eternal Return, took two years to build, and was unveiled in 2014 in the Black Rock Desert. Peter Hudson's zoetropes are based in San Francisco are exhibited at various festivals and special events in the United States and internationally throughout the year.
|
|
In philosophy, temporality is traditionally the linear progression of past, present, and future. However, some modern-century philosophers have interpreted temporality in ways other than this linear manner. Examples would be McTaggart's The Unreality of Time, Husserl's analysis of internal time consciousness, Martin Heidegger's Being and Time (1927), George Herbert Mead's Philosophy of the Present (1932), and Jacques Derrida's criticisms of Husserl's analysis, as well as Nietzsche's eternal return of the same, though this latter pertains more to historicity, to which temporality gives rise. In social sciences, temporality is also studied with respect to human's perception of time and the social organization of time.
|
|
The album featured the original version of "All Through the Night", which Cyndi Lauper eventually turned into a top-five hit. The album's opening number, "Whispering Your Name", reached 18 in the UK Singles Chart when Alison Moyet recorded her version of it; Moyet also performed the song on Top of the Pops. Shear then released an EP, Jules, which contained selections from Watch Dog on one side, and two mixes of a club-style dance number, "When Love Surges", on the other side. Shear's next full-length album, The Eternal Return, was a highly polished, synthesizer-heavy effort, produced by Bill Drescher (of Rick Springfield fame).
|
|
The troglodyte who makes patterns in the sand and the hero (Rufus) who finds himself questing after and achieving immortality should be seen as synonymous, all-encompassing representations of the choosing individual within the infinite flux of the universe's permutations. As such, the infinite represents complete contradiction of the individual and also its validation. "The Immortal" has been described as a fictional exploration of Nietzsche's theory of the Eternal return, in which infinite time has wiped out the identity of individuals. The story can be compared to Homer's Odyssey, in the sense that it is a tribute to the universal, mythical proportion of Homer's work.
|
|
Eliade attributes the well-known "cyclic" view of time in ancient thought to the eternal return. In many religions, a ritual cycle correlates certain parts of the year with mythical events, making each year a repetition of the mythical age. For instance, Australian Aboriginal peoples annually reenact the events of the "Dreamtime": > The animals and plants created in illo tempore by the Supernatural Beings > are ritually re-created. In Kimberley the rock paintings, which are believed > to have been painted by the Ancestors, are repainted in order to reactivate > their creative force, as it was first manifested in the mythical times, at > the beginning of the World.
|
|
Different Light produced five singles, the first three of which were written by someone other than the Bangles. Lead single "Manic Monday", originally written by Prince under the pseudonym "Christopher"Stichting Nederlandse Top 40, 500 Nr. 1 hits uit de Top 40, Page 234, 9023009444 in 1984 as a duet for the Apollonia 6 album, peaked at number two in the United Kingdom and the United States in 1986.[ Billboard.com] the Bangles singles chart history Accessed: November 4, 2006Everyhit.co.uk UK Top 40 database Accessed: November 4, 2006 "If She Knew What She Wants", the second single from Different Light, was originally recorded by Jules Shear on his 1985 Eternal Return album.
|
|
Willing the eternal recurrence is presented as accepting the existence of the low while still recognizing it as the low, and thus as overcoming the spirit of gravity or asceticism. Still others suggest that one must have the strength of the in order to will the eternal recurrence of the same; that is, only the will have the strength to fully accept all of his past life, including his failures and misdeeds, and to truly will their eternal return. This action nearly kills Zarathustra, for example, and most human beings cannot avoid other-worldliness because they really are sick, not because of any choice they made.
|
|
Because Romantics stress that emotion and imagination have the same dignity as reason, Ellwood argues, they tend to think political truth "is known less by rational considerations than by its capacity to fire the passions" and, therefore, that political truth is "very apt to be found [...] in the distant past". As modern gnostics, Ellwood argues, the three mythologists felt alienated from the surrounding modern world. As scholars, they knew of primordial societies that had operated differently from modern ones. And as people influenced by Romanticism, they saw myths as a saving gnosis that offered "avenues of eternal return to simpler primordial ages when the values that rule the world were forged".
|
|
In 2018, TimeOut Magazine called it one of the 50 best things to do in the world right now. House of Eternal Return is focused around the story of the Selig family, who disappeared after experimenting with interdimensional travel by tapping into a mysterious force known as "The Anomaly" in an effort to bring back deceased family members, causing the house to fracture open paths to alternate dimensions. A secret government organization called the Charter was able to contain the Anomaly's effects and passes off the containment warehouse as an art installation. In January 2018, Meow Wolf announced that it will be opening two new art complexes in Las Vegas, Nevada and Denver, Colorado.
|
|
He has composed numerous chamber music works as well as orchestral music, songs, film, theatre music, etc. He has released several personal albums as a composer and producer collaborating with some of the most prominent Greek singers while those albums were released my major recording labels such as (former) Universal Music Greece, Minos – EMI and other. His cantata “OMNYMI”, based on the Hippocratic Oath, was premiered in 2018 by the Symphonic Orchestra of Larissa. This work was commissioned by the Deputy Mayor for Culture in Larissa, under the auspices of the President of the Hellenic Republic and it was the final day concert at the annual series of events entitled “Hippocrates, the Eternal Return”..
|
|
" In Premiere, Glenn Kenny gave the film four stars and ranked it as one of the ten best films of 2005: > "Insanely evocative '60s-style landscapes and settings share screen space > with claustrophobic futuristic CGI metropolises; everyone smokes and drinks > too much; musical themes repeat as characters get stuck in their own self- > defeating modes of eternal return. A puzzle, a valentine, a sacred hymn to > beauty, particularly that of Ziyi Zhang, almost preternaturally gorgeous and > delivering an ineffable performance, and a cynical shrug of the shoulders at > the damned impermanence of it all, 2046 is a movie to live in." Said Ty Burr of The Boston Globe: > "Is it worth the challenge? Of course it is.
|
|
Historian J. B. Bury said that thought in ancient Greece was dominated by the theory of world-cycles or the doctrine of eternal return, and was steeped in a belief parallel to the Judaic "fall of man," but rather from a preceding "Golden Age" of innocence and simplicity. Time was generally regarded as the enemy of humanity which depreciates the value of the world. He credits the Epicureans with having had a potential for leading to the foundation of a theory of progress through their materialistic acceptance of the atomism of Democritus as the explanation for a world without an intervening deity. Robert Nisbet and Gertrude Himmelfarb have attributed a notion of progress to other Greeks.
|
|
Rose's exhibition history began in 1973 and includes solo shows in New York at Betty Cuningham Gallery, The Dactyl Foundation for the Arts and Humanities, E.M. Donahue Gallery, Getler/Pall Gallery, Susan Caldwell Inc., The Soho Playhouse and fiction/nonfiction; and elsewhere at Apel Galeri, Istanbul, Moss/Chumley Gallery, Dallas, and in Chicago at Van Straaten Gallery and One Illinois Exhibition Space, among others. Regionally, she has had solo exhibitions in Hudson at Nicole Fiacco Gallery, Sarah Y. Rentchler Gallery, Carrie Haddad Gallery, Studio 249 Ltd. and the Hudson Opera House. A solo museum exhibition of Rose's work at The Albany Institute of History & Art titled "The Eternal Return" ran from August 25, 2012 through January 27, 2013.
|
|
Meow Wolf was formed in February 2008 as an Artist Collective by "a group of young residents hoping to supply Santa Fe with an alternative art and music venue." At the first meeting of the collective, everyone present put two scraps of paper with a word on each one in a hat, and the first two scraps drawn became the name of the collective, Meow Wolf. In 2016 Meow Wolf opened their first permanent installation, House of Eternal Return, which was built by a collective of 135 artists in Santa Fe, New Mexico. As a company, they focus on sharing abilities and processes amongst their artists to create elaborate maximalist art installations with a focus on interactivity, narrative and immersive art.
|
|
While at Basel, Nietzsche lectured on pre-Platonic philosophers for several years, and the text of this lecture series has been characterized as a "lost link" in the development of his thought. "In it, concepts such as the will to power, the eternal return of the same, the overman, gay science, self-overcoming and so on receive rough, unnamed formulations and are linked to specific pre-Platonic, especially Heraclitus, who emerges as a pre-Platonic Nietzsche." The pre-Socratic thinker Heraclitus was known for rejecting the concept of being as a constant and eternal principle of the universe and embracing "flux" and incessant change. His symbolism of the world as "child play" marked by amoral spontaneity and lack of definite rules was appreciated by Nietzsche.
|
|
In April 2010, Darkest Hour announced their signing to eOne Music after having been with Victory Records for a decade. The new album will be produced by Soilwork guitarist Peter Wichers, who helped pioneer Swedish melodic death metal and was a major influence on Darkest Hour. In an August press release, the band described the new material as "the most emotional and melodic Darkest Hour album to date" and also said it "shares in that aggression with The Eternal Return and pushes Darkest Hour beyond the unknown." In a new Metal Injection interview, Darkest Hour members Mike Schleibaum and Ryan Parrish revealed that the new record would be titled The Human Romance, and it was officially released on February 22, 2011.
|
|
In 2008, she signed a record deal with Epic Records to make the album My Voice and 45 Strings, later released via Island Records (2010) under her artist name, The Lucinda Belle Orchestra; the album featured the artist Andrew Roachford on the track, "Keep on Looking". Her music has been used in films including For No Good Reason and short films such as Eternal Return and Join my Band. Belle also made several covers of songs, among them, "Smells Like Teen Spirit", and Cyndi Lauper's "True Colors" for the film, The Lavender Scare. Under the guidance of Big Life Management, Belle wrote and recorded in 2016 her album Thing Big: Like Me (independently released in 2019) at the retro East London recording studios Toe Rag.
|
|
193 This "terror of history" becomes especially acute when violent and threatening historical events confront modern man—the mere fact that a terrible event has happened, that it is part of history, is of little comfort to those who suffer from it. Eliade asks rhetorically how modern man can "tolerate the catastrophes and horrors of history—from collective deportations and massacres to atomic bombings—if beyond them he can glimpse no sign, no transhistorical meaning".Eliade, The Myth of the Eternal Return, p.151 He indicates that, if repetitions of mythical events provided sacred value and meaning for history in the eyes of ancient man, modern man has denied the Sacred and must therefore invent value and purpose on his own.
|
|
Kirk, The Nature of Greek Myths, p.64–66 Kirk concludes, "Eliade's idea is a valuable perception about certain myths, not a guide to the proper understanding of all of them".Kirk, The Nature of Greek Myths, p.66 Even Wendy Doniger, Eliade's successor at the University of Chicago, claims (in an introduction to Eliade's own Shamanism) that the eternal return does not apply to all myths and rituals, although it may apply to many of them. However, although Doniger agrees that Eliade made over-generalizations, she notes that his willingness to "argue boldly for universals" allowed him to see patterns "that spanned the entire globe and the whole of human history".Wendy Doniger, "Foreword to the 2004 Edition", Eliade, Shamanism, p.
|
|
The Last Judgment (detail) in the 12th century Byzantine mosaic at Torcello. Eliade acknowledges that not all religious behavior has all the attributes described in his theory of sacred time and the eternal return. The Zoroastrian, Jewish, Christian, and Muslim traditions embrace linear, historical time as sacred or capable of sanctification, while some Eastern traditions largely reject the notion of sacred time, seeking escape from the cycles of time. Because they contain rituals, Judaism and Christianity necessarily—Eliade argues—retain a sense of cyclic time: > by the very fact that it is a religion, Christianity had to keep at least > one mythical aspect—liturgical Time, that is, the periodic rediscovery of > the illud tempus of the beginnings [and] an imitation of the Christ as > exemplary pattern.
|
|
The eternal return of all memory initiated by the will to power is an entropic force again inherent to all life. Opposed to this interpretation, the "will to power" can be understood (or misunderstood) to mean a struggle against one's surroundings that culminates in personal growth, self-overcoming, and self-perfection, and assert that the power held over others as a result of this is coincidental. Thus Nietzsche wrote: It would be possible to claim that rather than an attempt to 'dominate over others', the "will to power" is better understood as the tenuous equilibrium in a system of forces' relations to each other. While a rock, for instance, does not have a conscious (or unconscious) "will", it nevertheless acts as a site of resistance within the "will to power" dynamic.
|
|
Sarah Blasko (born Sarah Elizabeth Blaskow, 23 September 1976) is an Australian singer-songwriter, musician and producer. From April 2002 Blasko developed her solo career after fronting Sydney-based band, Acquiesce, between the mid-1990s and 2001. She had performed under her then married name, Sarah Semmens, and, after leaving Acquiesce, as Sorija in a briefly existing duo of that name. As a solo artist Blasko has released six studio albums, The Overture & the Underscore (11 October 2004), What the Sea Wants, the Sea Will Have (21 October 2006) – which peaked at No. 7 on the ARIA Albums Chart, As Day Follows Night (10 July 2009) – which reached No. 5, I Awake (26 October 2012) – which made No. 9, Eternal Return (6 November 2015), and Depth of Field (23 February 2018).
|
|
Eliade also explained how traditional man could find value for his own life (in a vision of where all events occurring after the mythical age cannot have value or reality); he indicated that, if the Sacred's essence lies only in its first appearance, then any later appearance must actually be the first appearance. Thus, an imitation of a mythical event is actually the mythical event itself, happening again—myths and rituals carry one back to the mythical age: > In imitating the exemplary acts of a god or of a mythic hero, or simply by > recounting their adventures, the man of an archaic society detaches himself > from profane time and magically re-enters the Great Time, the sacred > time.Myths, Dreams and Mysteries, p. 23 Myth and ritual are vehicles of "eternal return" to the mythical age.
|
|
Everything in the present is seen as a direct result of the mythical age: > "Just as modern man considers himself to be constituted by [all of] History, > the man of the archaic societies declares that he is the result of [only] a > certain number of mythical events."Eliade, Myth and Reality, pp. 11-12 Because of this view, Eliade argues, members of many traditional societies see their lives as a constant repetition of mythical events, an "eternal return" to the mythical age: > "In imitating the exemplary acts of a god or of a mythical hero, or simply > by recounting their adventures, the man of an archaic society detaches > himself from profane time and magically re-enters the Great Time, the sacred > time."Eliade, Myths, Dreams, and Mysteries, p.
|
|
In his youth, alongside his study on Julius Evola, he published essays which introduced the Romanian public to representatives of modern Spanish literature and philosophy, among them Adolfo Bonilla San Martín, Miguel de Unamuno, José Ortega y Gasset, Eugeni d'Ors, Vicente Blasco Ibáñez and Marcelino Menéndez y Pelayo. He also wrote an essay on the works of James Joyce, connecting it with his own theories on the eternal return ("[Joyce's literature is] saturated with nostalgia for the myth of the eternal repetition"), and deeming Joyce himself an anti-historicist "archaic" figure among the modernists.Eliade, in Robert Spoo, James Joyce and the Language of History: Dedalus's Nightmare, Oxford University Press, New York, Oxford, 1994, p.158. In the 1930s, Eliade edited the collected works of Romanian historian Bogdan Petriceicu Hasdeu.
|
|
Blanqui's uncompromising radicalism, and his determination to enforce it by violence, brought him into conflict with every French government during his lifetime, and as a consequence, he spent half of his life in prison. Besides his innumerable contributions to journalism, he published a work entitled, L'Eternité par les astres (1872), where he espoused his views concerning eternal return. After his death his writings on economic and social questions were collected under the title of Critique sociale (1885). The Italian fascist newspaper Il Popolo d'Italia, founded and edited by Benito Mussolini, had a quotation by Blanqui on its mast: Chi ha del ferro ha del pane ("He who has iron, has bread"). Christopher Hibbert, Mussolini: The Rise and Fall of Il Duce, New York: NY, St. Martin’s Press, 2008, p. 21.
|
|
Schleibaum described the album as having the "aggression and speed" of 2003's Hidden Hands of a Sadist Nation, the "melody and songwriting" of 2005's Undoing Ruin, and the "technicality and musicianship" of 2007's Deliver Us. In an interview with HardcoreSounds Darkest Hour explained the concept behind the record and the title, The Eternal Return. Vocalist John Henry described the concept as both "a death and a rebirth" for the band. He felt that the band had "come full circle" as this album returns to Darkest Hour's more aggressive roots and also features their former producer, Brian McTernan. Henry also saw the album as a rebirth of the band with the addition of a new guitarist, Mike Carrigan, and the end of Darkest Hour's contract with Victory Records.
|
|
Having completed a world tour promoting her fourth studio album, I Awake (2012), as well as having contributed to various other musical projects, Sarah Blasko returned to the studio. In March 2015 she announced via Twitter that she was completing her final week of recording for her new album. By late April 2015 further details of the recording were announced on Blasko's website "The as yet untitled album will hopefully be released late in 2015, recorded at The Grove Studios on the NSW Central Coast by Engineer/Producer Burke Reid (Courtney Barnett, The Drones et al) & mixed by Welshman David Wrench (FKA twigs, Jack Ladder, Caribou, Seekae)." Later in 2015 while promoting Eternal Return, Sarah Blasko revealed to Sydney Morning Herald's Bernard Zuel that she was also expecting her first child during the recording of the album.
|
|
Existence is thus weighty because it stands fixed in an infinite cycle. This weightiness is “the heaviest of burdens”, for “if every second of our lives recurs an infinite number of times, we are nailed to eternity as Jesus Christ was nailed to the cross.” At the same time, it is necessary for any event to occur in the cycle of events exactly as it has always occurred for the cycle to be identical; consequently, everything takes on an eternally fixed meaning. This fact prevents one from believing things to be fleeting and worthless. The inverse of this concept is Kundera's “unbearable lightness of being.” Assuming that eternal return were impossible, humankind would experience an “absolute absence of burden,” and this would “[cause] man to be lighter than air” in his lack of weight of meaning.
|
|
In his work on the history of religion, Eliade is most highly regarded for his writings on Alchemy,'Eliade offers a theoretical background for understanding alchemy from the perspective of the history of religion. Alchemy is a spiritual technique and can be understood not as an important moment in the history of science but rather as a kind of religious phenomenon with its own particular rules.' Shamanism, Yoga and what he called the eternal return—the implicit belief, supposedly present in religious thought in general, that religious behavior is not only an imitation of, but also a participation in, sacred events, and thus restores the mythical time of origins. Eliade's thinking was in part influenced by Rudolf Otto, Gerardus van der Leeuw, Nae Ionescu and the writings of the Traditionalist School (René Guénon and Julius Evola).
|
|
40, 42 According to the logic of the eternal return, the site of each such symbolic Center will actually be the Center of the World: > It may be said, in general, that the majority of the sacred and ritual trees > that we meet with in the history of religions are only replicas, imperfect > copies of this exemplary archetype, the Cosmic Tree. Thus, all these sacred > trees are thought of as situated at the Centre of the World, and all the > ritual trees or posts [...] are, as it were, magically projected into the > Centre of the World.Eliade, Images and Symbols, p.44 According to Eliade's interpretation, religious man apparently feels the need to live not only near, but at, the mythical Center as much as possible, given that the Center is the point of communication with the Sacred.
|
|
Ouroboros, single and in pairs at SS Mary and David's Church, England In one of the oldest stories ever written, the Epic of Gilgamesh, Gilgamesh loses the power of immortality, stolen by a snake. The serpent was a widespread figure in the mythology of the Ancient Near East. Ouroboros is an ancient symbol of a serpent eating its own tail that represents the perpetual cyclic renewal of life, the eternal return, and the cycle of life, death and rebirth, leading to immortality. Archaeologists have uncovered serpent cult objects in Bronze Age strata at several pre-Israelite cities in Canaan: two at Tel Megiddo,Gordon Loud, Megiddo II: Plates plate 240: 1, 4, from Stratum X (dated by Loud 1650–1550 BC) and Statum VIIB (dated 1250–1150 BC), noted by Karen Randolph Joines, "The Bronze Serpent in the Israelite Cult" Journal of Biblical Literature 87.3 (September 1968:245-256) p. 245 note 2.
|
|
Swedish cyberphilosophers Alexander Bard and Jan Söderqvist propose a critique of the Derridean take on phallogocentrism in their works Syntheism - Creating God in The Internet Age (2014) and Digital Libido - Sex, Power and Violence in The Network Society (2018), advocating a return to phallic vision as fundamental and necessary for western civilization after 1945. They regard this phallic return as materialized through technology rather than through ever more academic discourse. In response to Derrida et al, Bard & Söderqvist propose that the phallogocentric project - which they call eventology - rather needs to be complemented with a return to nomadology, or the myth of the eternal return of the same, a matrichal renaissance which they claim has already materialized in system theory and complexity theory, from which both feminism and androgynism are merely later but welcome effects. According to the authors, it is merely the centrism and not the phallogos in itself which has ever been problematic.
|
|
The Unbearable Lightness of Being. 1999, page 5. imaginable. He professes that the wish for the eternal return of all events would mark the ultimate affirmation of life: > What, if some day or night a demon were to steal after you into your > loneliest loneliness and say to you: 'This life as you now live it and have > lived it, you will have to live once more and innumerable times more; and > there will be nothing new in it, but every pain and every joy and every > thought and sigh and everything unutterably small or great in your life will > have to return to you, all in the same succession and sequence' ... Would > you not throw yourself down and gnash your teeth and curse the demon who > spoke thus? Or have you once experienced a tremendous moment when you would > have answered him: 'You are a god and never have I heard anything more > divine.
|
|
Koenraad Logghe (born 1963) used to be a Flemish proponent of the European New Right and former practitioner of folkish Asatru, founder of the Werkgroep Traditie neopagan organization (the successor of Logghe's 1983 "Order of Eternal Return" and co-founding group of the World Congress of Ethnic Religions) which he left in the summer of 2008. Under Koenraad Logghe, Werkgroep Traditie followed "Traditionalism" in the sense of René Guénon and Julius Evola.Logghe, Tradition and Identity (1999) In a 1984 interview with The Hague Post on contributions by Mellie Uyldert endorsed the latter's racialist position, saying that "we must go back to nature and keep our own race pure" and called for respect for the "ideals" of the Dutch volunteers to the SS "fighting the Russian threat" at the Eastern Front. From the mid-1980s, Logghe became active in right-extremist circles of the Flemish Movement such as the Westland division of the Nationalistisch Jongstudentenverbond (NJSV), participating in the Belgian New Right journal L'Anneau.
|
|
The predominant request - message of the play, the universal Unity into which the fragmented World needs to return to (the world was fragmented after the matricide committed with the refusal of the Mother-Earth within the city- states) is served only with a Catharsis, with the end of this historic cycle and the "reinvention" of the world (the "eternal return" also found in the Stoic theory) through a purifying-cathartic (and therefore destructive) power and manner. This manner, according to Sikelianos, is fire that will burn everything (a popular motif in the work of Sikelianos in general, since he has used it in many other tragedies). The main episode of Christ in Rome with great length and key importance – and also the main theme of the plot is the scene of the fire that burns Rome. The re-creation of all things will come in the face the Jew Daisan, who will salvage an infant from the burning ruins of a building, a symbol of hope for the future: in other words and in direct correlation with the ancient myths and Greek tragedy, Daisan becomes the father-Zeus of the new Dionysus – hope for the future of the world.
|
|
Denis Buican has also developed a new theory of knowledge, called Biognoséologie, which attempts to exceed the Kantian distinction between phenomena and noumènes (those "things by themselves" which, according to Kant, can not be investigated by human beings) : based on ethology's data and on advances in molecular biology, he considered the so-called "relative noumènes", which would likely capture a probable reality. Historian, based on the epistemological model of Thomas Kuhn (The Structure of Scientific Revolutions, 1962), he also considered the introduction of genetics in France as a "run with obstacles": the science of heredity was accepted only in 1945, not without some resistance by biologists themselves, most of them being attached to . He is also the author of an essay, "The eternal return of Lysenko" (1978) dedicated to the interpretation of Lysenkoism: denouncing the theories of the philosopher Dominique Lecourt (author of the essay Lysenko published in 1976), which denied any liability to Marxism in the emergence then the triumph of Stalin's Lysenkoism theses. On the contrary he shows that the roots of Lysenkoism are to be found in the messianism and determinism of Marx and Engels.
|
|
And then you will > find every pain and every pleasure, every friend and every enemy, every hope > and every error, every blade of grass and every ray of sunshine once more, > and the whole fabric of things which make up your life. This ring in which > you are but a grain will glitter afresh forever. And in every one of these > cycles of human life there will be one hour where, for the first time one > man, and then many, will perceive the mighty thought of the eternal > recurrence of all things:– and for mankind this is always the hour of > Noon".Notes on the Eternal Recurrence – Vol. 16 of Oscar Levy Edition of > Nietzsche's Complete Works (in English) This thought is indeed also noted in a posthumous fragment.1881 (11 [143]) The origin of this thought is dated by Nietzsche himself, via posthumous fragments, to August 1881, at Sils-Maria. In Ecce Homo (1888), he wrote that he thought of the eternal return as the "fundamental conception" of Thus Spoke Zarathustra.Nietzsche, Ecce Homo, "Why I Write Such Good Books", "Thus Spoke Zarathustra", §1 Surlei".
|
|