Nirvana

What is the Soul and What is the Psyche are questions that are never satisfactorily answered in the world at large.  This paper endeavors to explain the different between these two diametrically different concepts and why each acts out as it does in the world.  How does one lose his or her Soul?

This paper endeavors to show why the Sacred Scriptures of the world are analogous to the Soul or the Psyche that has no soul depending upon the spiritual mental acuity of the initiate.  The Sacred Scriptures of the world teach the eternal spiritual laws that governs the Soul or the Psyche that has no Soul and it explains why neither the Soul nor the Psyche can escape those omnipresent spiritual laws.

Humans tend to believe because of the teaching of societal mores that the sacred scriptures are solely meant for spiritual purposes.  I beg to differ.  The sacred scriptures is a handbook on the Soul and the Psyche in all aspects of life both spiritual and material.  The sacred scriptures are synonymously the Soul and the Psyche.  The sacred scriptures is merely the concretizing, into the vernacular, the generic paradigm that governs the Soul and the Psyche: in other words this concretizing the generic paradigm that governs the Soul and the Psyche is bringing ORDER OUT OF CHAOS.  Those living without knowledge of the sacred scriptures still are governed by it generic paradigm.  Ask yourself why humanity is always inventing new technologies.  Are not humans hardwired to do that?  When this paper discusses Chartres Cathedral's labyrinth this concept will be discussed from a different perspective but nonetheless the generic paradigm become all too clear.

2020. Kurt Cobain tituló su canción más famosa por una marca de desodorantes para jovencitas. El espíritu adolescente de los años 90 traía microcápsulas especiales y no dejaba manchas blancas en la ropa. La música grunge olía a Brisas de California, Rosa Romántica, Talco Suave de Bebé, Frescor Caribeño y Surf del Océano. Todos los que alguna vez escucharon "Smells Like Teen Spirit" lo saben: Kurt Cobain olía a Teen Spirit, el desodorante.

Es fascinante la confianza con la que esta historia se repite en ámbitos tan diversos. Aparece en biografías voluminosas, artículos de diarios y revistas, monografías académicas y entradas enciclopédicas. Conforma una bien extendida tradición oral fogueada durante casi tres décadas por fanáticos, cronistas, oyentes, biógrafos, conocedores, partícipes, reporteros y desprevenidos. No es que la historia sea del todo falsa; es que quizás no sea del todo cierta. Y acaso ahí radique su gracia.

This comparison of Hype and The Occy provides avenues for understanding how broader historical changes have influenced music culture in the communities of Seattle and Wollongong. Both cities developed alongside the growth of major industrial ports. Economic boom in Seattle over the last three decades has made it one of the most affluent cities in the US. This is significantly due to growth in the technology industry. Although unemployment reached historic lows in the 1990s, Seattle’s prosperity was not shared by all, as soaring real estate prices in the 1990s put housing beyond the reach of many working-class people.  Comparatively, the Wollongong community endured a severe period of economic change in the 1980s and 1990s. Adult and youth unemployment has been higher than the national average in Wollongong for several decades.  These forces explain, in part, why live music culture has been a passionate past time for communities in Seattle and Wollongong, but I also explore their particulars in the form of community practices at the local level of city life.

The subjects interviewed in these films – most are local musicians providing “insider” knowledge about their communities - are revealed as coming to terms with and negotiating their individual and collective relations with historical forces through their respective cultural activities. Rock music is their vehicle of expression for resistance to change. It emerges as their community’s collective flagship for attaining a sense of certainty and cohesiveness.

This chapter unpacks the idea of collective memory, particularly Confino's idea that ‘Memory is … a subjective experience of a social group that essentially sustains a relationship of power.' I Historical film-makers are anything but innocent observers and instead we ought to view them as 'mediators of the past', communicating an interpretation of events in a manner that is relative to a particular social climate and period of time.

Art may have either literal or symbolic function. Iconography- the correlation between symbolic characteristics and otherworldly concepts- is like a code. When the semiotics of the art is studied, deeper meaning can be excavated. In surveying the diverse statues of Buddha from across Asia, certain repetitious themes appear.

The ways in which the various parts of the head, the hands in their mudras, the legs of the Buddha- be it seated or standing- and the accouterments that surround the Enlightened One are created to serve a heuristic function for the devotee. Once these aspects of Buddhist art are understood, additional insight into the account of Siddhartha and the way of Buddha can be more readily internalized. To gaze upon a statue of Buddha and observe the representational details of the head, arms and legs is to understand the cycle of samsara and diligently pursue Nirvana.

While Shakespeare’s King Lear is known for abdication in English literature, the Bodhisattva King Makhadeva is known for the same in the Canonical Buddhist literature. In terms of abdication, Lear gives up his responsibilities as King of Britain, while the Bodhisattva King Makhadeva renounces not only his responsibilities but also his throne and kingdom as a whole. Out of senile insouciance, Lear looks forward to an elegant retirement, never short of the royal regale he has been used to, while Makhadeva, still a man of physical vigour who has just seen the very first grey hair on his head, warned by the forebodings of senile decay, takes heed to achieve spiritual advancement before death. After abdication Lear proves the most unfortunate and pathetic tragic hero in all of Shakespeare’s plays while Makhadeva remains a role model for the Buddhists all over the world to follow in the face of old age. Thus, as much as the prospects they hold in the event of abdication, do contrast the returns they experience. Focused on the post-abdication escapades of the two kings, this paper attempts to make a comparison of their characters in light of the moral, social, and didactic implications of their decisions in the context of the values and ethics they are both exposed to in their respective cultures that influence their response to the vicissitudes of life.

M’interrogo sul senso del NULLA, sui suoi diversi significati: filosofici, fisici e matematici; come anche artistici, in particolare letterari, pittorici, musicali, teatrali e perfino rivoluzionari, utili per condannare la censura  la mancanza di libertà.
Passo in rassegna le varie declinazioni del NULLA nelle diverse discipline,  dando un significato a parole come:
NULLA,
NIRVANA,
ZERO,
VUOTO,
NESSUNO,
ASSENZA,
ATTESA,
SILENZIO,
PAUSA.
Una carrellata sul NULLA uno tra i più controversi concetti nell’arco della storia del pensiero umano, teso nella contrapposizione delle culture che lo hanno preso in considerazione: quella occidentale; quella orientale, da cui come si vedrà si è originato lo ZERO, il NULLA della matematica.
La difficoltà di una definizione del NULLA deriva dalla difficoltà della comprensione stessa dell’idea a cui fa riferimento.
Interrogarsi sul NULLA può sembrare inutile e banale, invece porta a riflessioni interessanti e non scontate che arrivano perfino a sconfinare in un dialogo con il suo opposto.

Bu iki kelimenin kök kelimesi olan şehadet, görerek ve yanılma payı olmayacak şekilde bir gerçekliğin ve gerçek olan bir olay veya nesnenin yaşanılması ve gözlemlenmesi demektir. Bu gözlemi yapan kişiye şahit denilir. Öyle ki bir olayın, bir nesnenin gerçekliğine ilmen yani veri ve delillerle vâkıf olan âlime de, şahit denilir. O olayı ve o nesneyi gözle görmemiş dahi olsa..

Eğer o âlim bizzat yaşayarak ve gözlemleyerek bir işe ve varlığa şahit ise ona şehit denilir. Demek şahit gözlemci manasında iken, şehit hem gözlemci hem gözlemlediği şeyi bizzat yaşayan demektir. Çifte şahit manasına gelir. Gramerde buna mübalağa kipi denilir. Evet, bir insan bir dava uğruna kendini feda ediyorsa o insan, o davanın gerçekliğini gözlemliyor ve o gerçekliği bizzat kendisi yaşıyor demektir. Onun için dinde, şehitler ölüm sonrası hayatın ve inandıkları dinin gerçekliğine birer delil sayılırlar. Ve bu mana ile Kur’anda şehitler peygamberlerle beraber zikredilmişler.

The ultimate goal and the destination of the mystical path in Islam is Fana, and in Buddhism is Nirvana. Reaching to both destinations is through elimination of desires. There are so many similarities between Fana and Nirvana that sometimes they are considered as identical concepts. Fana and Nirvana are mystical experiences and can also be studied through the lens of theories on mystical experiences. One of these theories is Constructivism, which believes mystical experiences are processed through and organized by beliefs and expectations that the mystic brings to the experience. In the Constructivist view, the mystic goes through mystical experience, while he is contextualized with the established doctrines and concepts of his religion, and since established doctrines and concepts of various religions are profoundly different, mystical experiences could not be the same. In this article, we attempt to study Fana and Nirvana through the lens of Constructivism. We argue that the difference between these two faiths is drawing their mystics’ mystical path genuinely different inasmuch as these paths would not end up in the same destination, and thus, Fanā and Nirvana are profoundly different. This article begins with a brief explanation of mystical experience and a short introduction on Constructivism and Essentialism; then continues by describing some principal doctrines on Fanā and Nirvana and recommended instructions to reach them, and finally ends with a comparison of these teachings and conclusion of the argument.