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By analyzing the Lucian Blaga’s poetry, this paper aims to argue how the form of poems contributes significantly to the creation of meaning through the stylistic figure of repetition. From the first volume, „Poems of light”, the repetition gains, beyond an aesthetic function, an ontic one specific to the Lucian Blaga’s consubstantiality between the poetic subject and the universe. During this approach, the repetition multiplies its phenomenalizations, in order to a significant part of the global meaning of the text is due to it. The major conclusion of this paper consists in highlighting a pattern of a continuous and ethereal aspiration to the self-world osmosis depending on Blaga’s creative stages.

During the time of English Nonconformity, Arianism was not only embraced, but openly acknowledged by most of the Presbyterian ministers. That generation of ministers, who contended so zealously for the orthodox faith, had finished their labours, and received from their Lord a dismissal into eternal rest. Those champions among the laity who, at the beginning of the controversy, stood up so firmly for the truth, had entered as well into the joy of their Lord. Though their children continued Dissenters, too many of them did not possess the same sentiments or spirit. Among those who succeeded these ministers were too many who embraced the Arian creed. To this unhappy change contributed the example and conversation as well of many from the younger Presbyterian ministers. In consequence Arianism spread far and wide in the Presbyterian congregations, both among the ministers and the people. This unhappy controversy proved the grave of the Presbyterian congregations, and of those of the General Baptists. The effects of Arianism, though at first scarcely visible, gradually produced desolation and death.

Counter-cultural back-to-the-land experimentation is a very long-standing social phenomenon across the global North but has been little studied by geographers. This paper provides a critical overview of its manifestation in Britain over the last 40 years. It emphasizes the importance of placing it in its entangled context of the dominant form(s) that rural space takes. While 1960s/1970s back-to-the-land raised critical questions about the countryside, it mainly `diverted' marginal spaces to alternatives outside the mainstream. In contrast, it exists today at a time when rural spatiality's `productivist' alignment is being sorely challenged. This presents, in principle, greater scope both for its longer-term survival and for it to engage in a `productive' critique of the mainstream rurality that is emerging. The paper suggests that interrogating critically the extent of consubstantial relationships between land and everyday life is also essential for evaluating back-to-the-land experimentation.

One problem with the religious sub-genre of Hagiographic films is that they frequently romanticize, sentimentalize, or idealize the lives of saints. Our purpose is to excavate three major film biopics on the life of Protestant reformer Martin Luther and demonstrate where the use of excremental humor humanizes him. Such coarse embodied humor invites a consubstantial identity of a holy man with his secular audience. Where laughter is present, saints are not elevated to being “more spiritual than God.” The use of excremental humor gives weight, or the gravity of earth, to the transcendent, bringing the holy down into the everyday. We argue that it is the comedy in the life of Luther that makes him more authentic, showing how film can communicate the presence of God in earthen vessels.

Uma das principais controvérsias atuais no campo dos estudos do trabalho e do gênero é a maneira de conceitualizar a interdependência das relações sociais de raça, sexo e classe, que alguns designam por \"interseccionalidade\", outros por \"consubstancialidade\". A controvérsia é apresentada a partir de uma perspectiva \"situada\", avessa à definição da ciência como objetiva e racional. A seguir, o conceito de consubstancialidade é aplicado à análise das relações de gênero, de raça e de classe no trabalho de care, trabalho material, técnico e emocional, em que essas relações aparecem imbricadas.

This article focuses on the analysis of the concept of love in the religious philosophy of Pavel Florensky, who shares the ontological approach to the consideration of love with other representatives of Russian religious philosophy (N. berdyaev and S. bulgakov). We pay more careful attention to the understanding of love-άγαπαν by Florensky. We have drawn the conclusion that, in the philosophy of P. Florensky, Love, closely connected with truth and beauty, is considered an ontological basis existence of personality. We develop the ideas of Pavel Florensky, and accordingly assume that it is possible to synthesise love-agape and love-eros around the idea of sacrificial love. Agapelogical and erotical ‘bezels’ of one jewel of love is aspects of united love, which is given by God. this gift of God, the gift of united love, is kept by humans through prayer and deeds of love.

In this article Valerie Lynn Schrader examines the musical Assassins through the rhetorical lenses of public memory and Kenneth Burke's theory of identification. Offering a close textual analysis of the musical's script and cast recording, she argues that Assassins, along with its audiences, serves to co-create a public memory of the men and women who attempted to assassinate Presidents of the United States of America. Her article contends that Assassins creates a chilling consubstantiality between the characters in the musical and theatregoers through Burkean identification, which may cause cognitive dissonance for many audience members. Through identifying key themes in the musical, she argues that these both connect with the assassins' motives and are common human experiences, serving not only to create public memory of the stories, but also to humanize the assassins and create a bond between audience and characters – while the song ‘Something Just Broke’ undermines this connection and encourages audience members to identify with the mourning American public. Valerie Lynn Schrader is Associate Professor of Communications and Interim Director of Academic Affairs at the Schuylkill Campus of the Pennsylvania State University. Her research focuses on rhetorical messages in theatre works, especially musical theatre productions. She is herself a classically trained lyric soprano/soubrette.

Pavel Florensky attempted to formulate an ontological theory of love. He believed that love is not merely a psychological phenomenon but also implies a kind of real unification. Florensky proposed to understand the latter in terms of consubstantiality. Two numerically distinct subjects might become one in virtue of their numerically identical essence. Besides that Florensky sketched an ontological theory based on the distinction between things and persons. It seems that he held a bundle theory of objects, a trope nominalism for things, and a substrate theory combined with realism for persons. Florensky’s view might be therefore taken as a position in the debate on the principle of the identity of indiscernibles. Finally, I suggest that the serious philosophical and theological problems of Florensky’s ontology of love might be overcome by adding to his theory the patristic distinction between essence and energies.

Ao debater a abordagem interseccional e considerando o conceito de consubstancialidades, o presente artigo analisa, por um lado, a sub-representação das meninas e mulheres na Educação Física Escolar. Por outro lado, debate formas de transgressão engendradas por alunas e docentes, que buscam uma prática pedagógica capaz de cruzar fronteiras cristalizadas pela tradição, a partir de uma perspectiva de Educação Física Escolar que propicie o debate e a transformação dos arranjos de gênero polarizados e binários. São ainda considerados os conceitos de Coeducação e de Aprendizado da Separação como potentes instrumentos para debater a maneira como podem ser percebidas, mantidas e/ou transformadas as relações raciais e de gênero, estabelecidas e usualmente em jogo, em rica rede de possibilidades nos espaços escolares. In discussing the intersectional approach, and considering the concept of consubstantiality, this article analyzes on the one hand, the under-representation of girls and women in Physical Education, on the other hand, debate forms of transgression engendered by students and teachers who seek a pedagogical practice able to cross borders crystallized by tradition from the perspective of Physical Education that fosters debate and transformation of polarized and binary gender arrangements. The concepts of Coeducation and Learning Separation are still considered as powerful tools to discuss how they can be realized, maintained and/or processed established racial and gender relations and are usually in play, in rich networking opportunities in school spaces.

RésuméL’article met en lumière la place structurante de la parenté et ses représentations dans la construction des Formes élémentaires de la vie religieuse . Dans ses travaux antérieurs sur le totémisme, Durkheim avait souligné le caractère religieux de la parenté. Dans Les Formes élémentaires , au contraire, suite aux critiques adressées à ses thèses sur la coprésence du totémisme et de l’exogamie, il sépare sociologie de la religion et sociologie de la famille. Pourtant, dans Les Formes , il dresse un système de correspondances entre personne, consubstantialité clanique et ordre cosmique qui viennent annoncer les points de vue contemporains sur la définition de la parenté. Durkheim apparaît ainsi comme un précurseur inattendu de l’anthropologie de la parenté d’aujourd’hui. Religion and kinship in The Elementary Forms The argument of this article is that kinship and its representations structure The Elementary Forms of the Religious Life . In previous works on totemism, Durkheim underlined the religious basis of kinship. In The Elementary Forms , as a result of the strong criticism against his thesis on the link between totemism and exogamy, Durkheim separates the sociology of religion from the sociology of the family. Nonetheless, in The Forms , he draws a whole system of correspondences between the person, clan consubstantiality and cosmological order that announces contemporary definitions of kinship. Durkheim appears in this way as an unattended predecessor of nowadays kinship anthropology.