Transcendence

An indepth investigation into the extreme sport experience

Patterns of Transcendence : Classical Myth in Marina Tsvetaeva's Poetry of the 1920s

This study examines the position and meaning of Classical mythological plots, themes and characters in the oeuvre of the Russian Modernist poet Marina Tsvetaeva (1892-1941). The material consists of lyric poems from the collection Posle Rossii (1928) and two longer lyrical tragedies, Ariadna (1924) and Fedra (1927). These works are examined in the context of Russian Modernism and Tsvetaeva s own poetic development, also taking into account the author s biography, namely, her correspondence with Boris Pasternak. Tsvetaeva s appropriations of the myths enter into a dialogue with the Classical tradition and with the earlier Russian and Western literary manifestations of the source material. Her Classical texts are inextricably linked with her own authorial myth, they are used to project both her ideas about poetry as well as the authored self of her poems. An important context for Tsvetaeva s application of the Classical myths is the concept of the Platonic ladder of Eros. This plot evokes the process of transcendence of the mortal subject into the immaterial realm and is applied by the author as an extended metaphor of the poet s birth. Emphasizing the dialectical movement between the earthly and the divine, Tsvetaeva s Classical personae foreground various positions of the individual between these two realms. By means of kaleidoscopic reformulations of similar metaphors and concepts, Tsvetaeva s mythological poems illustrate the poet s position between the material and the immaterial and the various consequences of this dichotomy on the creative mission. At the heart of Tsvetaeva s appropriation of the Sibyl, Phaedra, Eurydice and Ariadne is the tension between the body and disembodiment. The two lyrical tragedies develop the dichotomous worldview further, nevertheless emphasizing the dual perspective of the divine and the earthly realms: immaterial existence is often evaluated from a material perspective and vice versa. The Platonic subtext is central for Ariadna, focussing on Theseus development from an earthly hero to a spiritual one. Fedra concentrates on Phaedra s divinely induced physical passion, which is nevertheless evoked in a creative light.

Practical applications of the likelihood, time transcendence and metadata in virtual models of heritage elements

Contributed to: III Bienal de Restauración Monumental: "Sobre la des-restauración" (Sevilla, Spain, Nov 23-25, 2006)

Time transcendence, metadata and future utilization in 3D models of point clouds for heritage elements

Contributed to: Virtual Retrospect 2007 (Pessac, France, Nov 14-16, 2007)

Objects of Transcendence: Scots Protestantism and an Anthropology of Things

This anthropological essay takes as its ethnographic point of departure two apparently contrasting deployments of the Bible within contemporary Scotland, one as observed among Brethren and Presbyterian fisher-families in Gamrie, coastal Aberdeenshire, and the other as observed among the Orange Order, a Protestant marching fraternity, in Airdrie and Glasgow. By examining how and with what effects the Bible and other objects (plastic crowns, ‘Sunday clothes’, Orange regalia) enter into and extend beyond the everyday practices of fishermen and Orangemen, my aim is to sketch different aspects of the material life of Scottish Protestantism. By offering a critique of Bruno Latour’s early writing on ‘quasi-objects’ via Alfred Gell’s notion of ‘distributed personhood’, I seek to undermine the sociological assumption that modernity and enchantment are mutually exclusive.

Death anxiety and experiences of transcendence : peak experiences of skydivers

Terror Management Theory (TMT) suggests that human beings battle to protect ourselves from the potential terror resulting from the juxtaposition of our need for selfpreservation and our unique human ability to realize that we cannot avoid death. Over 150 studies have shown that when people are primed with the awareness of mortality they grasp onto their cultural world view more tenaciously than when they are primed with another unpleasant stimulus (i.e., show "cultural world view defense"). Applying the principles ofTMT, the first purpose of the present research was to examine whether the amount of peak experiences reduce the tendency to show cultural world view defense (an indicator of unconscious death fear) after a death prime. The second purpose was to examine a new model of implicit spirituality, by testing proposed relationships between implicit spirituality, peak experiences and intrinsic religiosity, and by testing whether peak experiences and/or intrinsic religiosity mediate the relationship between implicit spirituality and conscious and/or unconscious death fears. Skydivers were chosen as the primary participants for this research because of their unique characteristics in the context of TMT research. Previous research suggests that veteran skydivers have peak experiences as they skydive, and I assumed that their peak experiences would not be influenced by intrinsic religious beliefs. Novice skydivers may have their implicit spirituality brought forth because of their proximity to possible death. The willingness of both groups to place themselves close to death allowed their reactions to unconscious and conscious death fears to be assessed in a real setting. Novice skydivers' proximity to death made them an ideal group to study to see whether intrinsic religiosity mediated the relationship between their implicit spirituality and conscious and/or unconscious death fears. One hundred and twenty-five people participated in this research: 38 veteran and 46 novice skydivers, as well as 41 people who accompanied them to the drop zone. Of these, 23 veterans, 19 novices, and 22 friends returned a follow-up packet of questionnaires three weeks later. As expected, the veterans' unconscious death fear scores remained stable from pre-jump to post-jump (after the death prime), and three weeks later, whereas the novices' scores increased, but only marginally. As predicted, the novice skydivers' implicit spirituality was significantly higher than the veterans' and was negatively correlated with their conscious death fear, which was not mediated by their intrinsic religiosity. Only the novices' follow-up (trait) implicit spirituality correlated negatively with their pre-jump unconscious death fear. Among both groups of skydivers, there were significant relationships between implicit spirituality and peak experiences, and although the novices were significantly higher on peak experiences after the jump, peak experiences did not mediate the relationship between implicit spirituality and unconscious death fear for either group. In both groups follow-up intrinsic religiosity correlated with implicit spirituality. Peak experiences and intrinsic religiosity were not related with one another, suggesting that these are different ways of accessing an implicit spirituality. Results imply that implicit spirituality was brought forth (in the case of novice skydivers who were consciously close to death) and can be accessed through both peak experiences and intrinsic religiosity.

Martin Heidegger and the problem of transcendence

Cette thèse a pour point de départ l’idée du jeune Heidegger selon laquelle le sens de l’être doit être recherché au moyen d’une phénoménologie ontologique, plus précisément par l’analytique existentiale du Dasein et la destruction de l’histoire de l’ontologie ; ou, comme nous l’interprétons, dans la transcendance du Dasein et la transcendance de l’être. L’étude du problème de la transcendance fait l’objet d’une approche phénoménologique, laquelle porte une attention particulière au vécu en tant que tel ainsi qu’aux conditions de possibilité de ce vécu, et repose sur une lecture attentive et critique des œuvres de Heidegger. C’est une telle approche phénoménologique qui nous permettra de mener à bien notre analyse du problème de la transcendance dans le corpus heideggérien. Nous serons par ailleurs en mesure d’aborder le débat opposant à ce sujet la tradition analytique (plus particulièrement l’approche pragmatiste) et la tradition continentale, notre étude s’inscrivant dans le cadre de cette dernière. Nous proposons ici une phénoménologie du problème de la transcendance qui fait également figure de phénoménologie du sens, de la possibilité et de la normativité. Prenant pour point de départ certaines contributions issues de la tradition continentale, nous soutenons que le sens de l’être peut être compris comme le problème de la transcendance. L’histoire de la philosophie doit être perturbée, déconstruite et repensée afin que le chemin de la philosophie, encore non pensé, puisse être mis au jour. L’accès à cet autre commencement doit être recherché dans la transcendance en tant que telle – de l’appel de la conscience fondé dans la nullité à l’encontre authentique avec la mort et l’ouverture de la temporalité ; de l’avènement historial de l’être jusqu’à, ultimement, le i! ! ! ! refus de l’être et le retrait du rien. L’événement (Ereignis) de l’être est donc compris comme processus de dépassement de soi à partir duquel la transcendance de l’être – ou, comme le formule Heidegger, la fin des questions – est possible.

Transcendence and interiority in architecture : a study of Hagia Sofia, 532-537

The late historian Robin Evans, takes up the debate symbolised between Wblfflin, proposing that meaning is directly accessible through the form of a building, and Wittkower, arguing that meaning lies behind the form of architecture, in other texts and ideas. The focus of their argument is the centralised church of the Renaissance, which holds a special place in the history of architecture for all three historians. Evans' argument makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. He concludes that architecture, in its singular artistic physicality "suspends our disbelief in the ideal", offering a world that does not reflect culture, in all its fullness, but rather supplements culture's incompleteness. Architecture, like art is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order. Does architecture aspire towards transcendence, if so, what is transcendental value in architecture? In this essay I want to turn to Hagia Sofia (Istanbul, 532-537), a church that marks the beginning of a Christian empire relocated to the East of Rome, in Constantinople, built one thousand years before the Renaissance churches; and a building that symbolises the shift towards a domed centralised form, away from a basilica form. Hagia Sofia is an architecture, observed and described in an almost devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. What role does Hagia Sofia play in the kind of artistic mastery that Evans is proposing?

Hagia Sofia (532–537AD) : a study of centrality, interiority and transcendence in architecture

The study by Robin Evans of the centralised churches of the Renaissance explores the idea of centrality, and argues that architecture does not simply invest in one geometric centre. Evans’s analysis makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. In a footnote, he suggests that architecture in its singular artistic physicality ‘suspends our disbelief in the ideal’, offering a world that does not reflect culture, in all its fullness, but rather supplements culture’s incompleteness. This idea reiterates psychoanalytic theories of Freud and Kristeva that qualify the notion of transcendence with the psychoanalytic concept of transference. Architecture, like art, is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order and wholeness. In this essay, I turn to Hagia Sofia (532–537AD) in present-day Istanbul, a church that marks the beginning of a Christian empire relocated to Constantinople, East of Rome, and built one thousand years before the Renaissance churches discussed by Evans. Hagia Sofia is a building that symbolises the shift towards a domed centralised form, away from a basilica form, and a building that develops an innovative interior. Hagia Sofia is usually observed and described in a devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. Its influence on Islamic mosque design has been noted. What rôle does Hagia Sofia play in the kind of artistic mastery that Evans is proposing, and what other dimensions of centrality and transcendence in architecture are offered by a study of Hagia Sofia?