The Original Question Was:
Where Does Magic Come From?
The agreed answer from the Coprnice is:
Magic comes from Khaos and Cosmos, Ethereal, Chthonic Epifáneia in that order.
[It appears that we have to use the words Khaos and Cosmos for completeness and understanding around the world.]
Provide definitions citations and sources for:
Khaos and Cosmos, Ethereal, Chthonic and Epifáneia
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- Khaos and Cosmos:
- Definition: In Greek mythology, Khaos refers to the primeval state of existence, a formless void or abyss from which the universe was believed to have originated. Cosmos, on the other hand, refers to the ordered and harmonious arrangement of the universe.
- Citation (search): “Chaos and Cosmos.” Ancient History Encyclopedia, https://www.worldhistory.org/search/?q=chaos+and+cosmos.
- Source: Ancient History Encyclopedia is a reliable online resource that focuses on ancient history and mythology. The information provided is written by experts in the field and is well-researched.
- Ethereal:
- Definition: Ethereal refers to something that is light, delicate, or heavenly in nature, often associated with the spiritual or otherworldly realms. It can also describe something that is very subtle, intangible, or transcendent.
- Citation: “Ethereal.” Merriam-Webster, www.merriam-webster.com/dictionary/ethereal.
- Source: Merriam-Webster is a reputable dictionary that provides definitions and explanations for various terms. It is widely used and recognized as a reliable source for understanding word meanings and usage.
- Chthonic:
- Definition: Chthonic refers to things that are associated with the underworld, the realm of the dead, or the subterranean forces of the earth. It often relates to deities, spirits, or rituals that are connected to the dark and hidden aspects of existence.
- Citation: “Chthonic.” Oxford English Dictionary, www.oed.com/view/Entry/31174.
- Source: The Oxford English Dictionary (OED) is a trusted and comprehensive resource for definitions and etymologies. It provides in-depth explanations and traces the historical usage of words, making it a reliable source for understanding word meanings.
- Epifáneia:
- Definition: Epifáneia (also spelled epiphaneia) is a Greek term that translates to “manifestation” or “appearance.” In religious or spiritual contexts, it refers to a divine or supernatural revelation, an unveiling of a hidden truth, or the sudden realization of a profound insight.
- Citation: “Epiphaneia.” Brill Online Dictionary of Religion, edited by Kocku von Stuckrad, November 2014, referenceworks.brillonline.com/entries/brill-dictionary-of-religion/epiphaneia-COM_00094.
- Source: The Brill Online Dictionary of Religion is an authoritative and scholarly resource in the field of religious studies. It provides in-depth articles written by experts and covers a wide range of religious concepts and terminology.
- Khaos and Cosmos:
Doing it myself for the Roman definitions looks like this:
Google Search Terms and link:
Roman definition of Khaos
Japanese religious definition of chaos
Chinese religious definition of Chaos
Is This True?
Abstract
There are four different natural environments or spaces where natural and illusive magic occurs. The practice of rituals, rites and ceremonies is intended to create a visible result or a physical change in these environments, most often observed at a liminal surface or gateway. The evidence for this is readily available in the archaeological, ethnographic and anthropological studies of religion. The four words used to classify, describe and create illusive and natural magic are: Khaos, Ethereal, Chthonic and Epifáneia
Glossary and Definitions:
(1) Khaos:
The whole universe and space. The dictionary tells us that Chaos is from Latin chaos (“chaos”), from Ancient Greek χάος (kháos). The Greek word χᾰ́ος • (kháos) means the primordial state of existence, Space, air, abyss, chasm, infinite darkness. The Latin word Chaos is a borrowed Ancient Greek Word. 2021
A Dictionary of Greek and Roman biography and mythology William Smith, Ed.: （*Xa/os), the vacant and infinite space which existed according to the ancient cosmogonies previous to the creation of the world (lles. Thmeog. 116), and out of which the gods, men, and all things arose. A different definition of Chaos is given by Ovid (Ov. Met. 1.1, &c.), who describes it as the confused mass containing the elements of all things that were formed out of it. According to Hesiod, Chaos was the mother of Erebos and Nyx. Some of the later poets use the word Chaos in the general sense of the airy realms, of darkness, or the lower world. 1848
(2) Ethereal:
The sky above the world or anything above the surface. The dictionary tells us that Ethereal is from the Latin word aetherius (“of or pertaining to the ether, the sky, or the air or upper air; ethereal”), from Ancient Greek αἰθέριος (aithérios, “of or pertaining to the upper air; ethereal”) From the Aeneid: Cythera’s Queen gave sudden signal: from th’ ethereal dome a thunder-peal and flash of quivering
(3) Chthonic:
Below the surface of the world or below the surface. The dictionary tells us that Chthonic is from Ancient Greek χθών (khthṓn, “ground, soil”) + -ic It also means Dwelling within or under the earth . See Perseus Chthonic for offering pits photos
(4) Epifáneia:
The surface of the world or simply the surface where things are revealed. Ex.: The surface (Epifáneia) where Magic from the chthonic offering pits appears as opposed to the Epifáneia (surface) where Magic from Ethereal offering burners appeared. See also Epifania the appearance of divinity.
The dictionary tells us that the associated word epiphany is a illuminating realization or discovery, often resulting in a personal feeling of elation, awe, or wonder and also a manifestation or appearance of a divine or superhuman being, a synonym is called a: theophany.
In general terms any boundary or gateway between the inside of something, a thing or place and the outside is the epifáneia surface. The epifáneia is where Magic is revealed, it’s where you look for the signs of Magic in the real world and it’s also where Magic is created.
It’s a transformational boundary or a physical boundary. Examples would be: A shoreline, a cloud, the edge of the atmosphere, the outside of a candle flame, the edge (hedge) of a forest where the herbs grow. Crossing a threshold is crossing a boundary surface.
Where shadows play on the ground is also a epifáneia surface and sometimes you see and recognize shapes in the shadows. That’s why shadows scare us sometimes when our brain recognizes shapes in our peripheral vision. Crystals and mirrors, indeed crystal balls have a epifáneia where light moves through the crystal or reflects off of the mirror and sometimes we see and recognize shapes and patterns in the reflections that are not visible without looking at the mirror or crystal.
People usually ask if this is real or not and the answer is absolutely yes. Whether or not everyone sees the same thing is not the point. It’s what you believe you are seeing. Did you do a ritual and something showed itself? That’s a neat experience to see. Is it our minds that create what we are seeing? Absolutely — that’s the point — without your mind and your brain you could not see anything at all.
If you believe in Magic you will start seeing things with a Magical overlay or perspective. What you believe is happening is up to you. These epiphanies and theophanies are present and documentable in both modern and ancient reality. None of this explanation takes away anything from any religion or what you believe in whatsoever.
KMLAI gives different answers:
Yes, this is true.
–snip–
It just shows the power of the brain and the importance of the epifáneia surface.
Yes, this is true.
Those are davinci-003 answers when you switch to Turbo model it balks So I asked it to rewrite is to be true and here you go:
Abstract There are four distinct natural environments where illusions and natural magic occur. Rituals, rites, and ceremonies are conducted to create visible results or physical changes in these environments, often observed at liminal surfaces or gateways. This evidence is readily available in archaeological, ethnographic, and anthropological studies of religion. The four words used to classify and describe illusive and natural magic are Khaos, Ethereal, Chthonic, and Epifáneia.
Glossary and Definitions: (1) Chaos: Chaos refers to the primordial state of existence, encompassing the whole universe and space. It is described as a vacant and infinite space from which everything emerged. Some later poets use Chaos to refer to the airy realms, darkness, or the lower world.
(2) Ethereal: Ethereal pertains to the sky above the world or anything above the surface. It is associated with the upper air and is often mentioned in the context of divine or supernatural phenomena.
(3) Chthonic: Chthonic refers to what lies below the surface of the world or beneath the ground. It is associated with dwelling within or under the earth.
(4) Epifáneia: Epifáneia represents the surface of the world or any surface where things are revealed. It is the boundary or gateway between the inside and outside of something, where magic is both revealed and created. Examples include shorelines, clouds, candle flames, and the edges of forests. Epifáneia surfaces are transformational and physical boundaries.
Epifáneia surfaces can be seen in shadows on the ground, where shapes and patterns may be recognized. Crystals and mirrors also have epifáneia surfaces, where light moves through or reflects off them, revealing shapes and patterns. Whether or not everyone sees the same thing is not important; what matters is what individuals believe they are seeing.
Belief in magic allows individuals to perceive the world with a magical perspective. These epiphanies and theophanies, or appearances of the divine, can be documented in both modern and ancient reality. This explanation does not undermine any religion or personal beliefs.
Provide definitions for:
Khaos, Ethereal, Chthonic, Epifáneia
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- Khaos: In Greek mythology, Khaos (also spelled “Chaos”) refers to the primordial state of existence before the creation of the universe. It symbolizes the formless void or emptiness from which all things originated. Khaos is often depicted as a vast, dark abyss without order or structure.
- Ethereal: Ethereal describes something that is delicate, light, and otherworldly in nature. It is often associated with a sense of beauty or spirituality that transcends the physical realm. Ethereal things are often described as heavenly, celestial, or divine. This term is commonly used to describe ethereal music, ethereal landscapes, or a person’s ethereal beauty.
- Chthonic: Chthonic is an adjective used to describe things that are related to the underworld or the subterranean realm. In Greek mythology, the chthonic deities are gods or spirits that reside in the underworld, such as Hades or Persephone. The term can also be used more broadly to describe anything dark, hidden, or associated with the earth or underground.
- Epifáneia: Epifáneia is a Greek word that translates to “epiphany” in English. It refers to a sudden, profound realization or insight that brings about a new understanding or perspective. Epifáneia is often used to describe a moment of clarity or revelation that leads to personal growth or a deep understanding of oneself or the world. It is commonly associated with spiritual or intellectual enlightenment.
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Reading list:
Madeira, Maria Odete and Gonçalves, Carlos Pedro dos Santos, Ontologies: On the Concepts of: Possibility, Possible, ‘Acaso’, Aleatorial and Chaos (September 7, 2009). Available at SSRN: https://ssrn.com/abstract=1469613 or http://dx.doi.org/10.2139/ssrn.1469613
Creation, Rationality and Autonomy: Essays on Cornelius Castoriadis. Denmark: Aarhus Universitetsforlag, 2013.
Leighton, Joseph Alexander. Man and the Cosmos: An Introduction to Metaphysics. United Kingdom: D. Appleton, 1922.
It is through conceptual thinking alone that we find in nature a regular causal succession continuous evolution ceaseless movement beneath the apparently placid surface of things in short in place of chaos cosmos an orderly world of elements in dynamic relations.
–end–
–G
More Reading:
https://vue.gov.ua/Таємна_доктрина
ED Access and Extract:
The work, according to the author’s testimony, is based on the texts of the ancient Tibetan manuscript “The Book (Stanzas) of Dzyan”, which is part of the manuscript “The Book of the Hidden Wisdom of the World” — an anthology of all occult sciences.
The first volume of the Secret Doctrine, Cosmogenesis, consists of two parts. In the first part (“cosmic evolution”) Blavatsky expounds in detail the concept of the evolution of cosmogonic systems. The manifestation of the organized universe, its structure and formation cycles are presented as a dialectical process of interaction of the cosmos with structureless Chaos. The rationale for the cosmogonic picture of the world is based on the commentary to each sloka (a metrical rhythmic phrase traditional for Indian poetry)”Dantz Dzian”. The second part (“the evolution of symbolism”) presents arguments in favor of the cosmogonic concept derived from the symbolism of ancient cultures, esoteric aspects of philosophical and religious teachings of the East and West.
The second volume – “Anthropogenesis” – contains an analysis of views on the origin and evolution of mankind. Drawing on the Dzyan Stanzas, as well as a wide range of esoteric teachings and philosophical and religious concepts, Blavatsky develops a holistic picture of the development of races and the cycles of evolution of life on Earth. The sevenfold structure of man is described, as well as an idea of the evolutionary forms of future cycles of human development. The symbolism of ancient religions became the ideological basis for establishing the spiritual essence of man and determining the ways of its spiritual evolution.
Sources
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- The Secret Doctrine: The Synthesis of Science, Religion, and Philosophy : in 2 vol. : in 2 vol. London : Theosophical Publishing, 1888–1897.
- R o s p e r e k l a d — The Secret Doctrine : in 2 vols. Moscow: Eksmo; Kharkiv: Folio, 2009.
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Literature
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- Cranston S. E. P. Blavatsky. Zhizn i tvorchestvo osnovatelnitsy sovremennogo teosofskogo dvizheniya [Life and work of the founder of the modern Theosophical movement]. Riga; Moscow: Ligatma Publ., 1999, 736 p.
- Murphy G. When the dawn comes, or The Life and Works of Elena Petrovna Blavatsky / Translated from English 2nd ed., with ed. Chelyabinsk : Arkaim Publ., 2004, 286 p.
- Shabanova Yu. A. Theosophy in the perspective of philosophical and socio-cultural understanding. Dnepropetrovsk : National Mining University, 2011, 141 p. (in Russian)
- Shabanova Yu. A. Theosophy: history and modernity. Kharkiv: Philology Panov A. N., 2016, 198 p.
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Even More Reading:
https://vue.gov.ua/Гармонія_(естетика)
Vocation for this article: Dobronosova Yu. D. harmony (aesthetics) / / Big Ukrainian encyclopedia. URL: https://vue.gov.ua/Гармонія(esthetics) (accessed: 29.06.2023).
Characteristic
The concept of harmony has long been used as a musical metaphor for interpreting any system organization-the cosmos, nature, society, state, individual, etc. – by analogy with the system in music. Denotes a well-coordinated unity in diversity; related to the concepts of proportionality, measure, sub-vocality, consonance. It is an attitude to find not just a high level of orderliness, but the proper, best orderliness, the embodiment of beauty, good and good, the coincidence of the aesthetic and ethical.
In the history of world culture, it is meaningful in various aspects: as a musical and mathematical structure of the cosmos (for example, in Pythagoreanism, Platonismthe most perfect spatial and quantitative relations; A new Unity formed by a combination of various elements, natures, essences; the “golden mean”; the consistency of actions, thoughts and feelings, the ideal of the inner state of the sage, etc. postulated the existence of some Higher (Great, In advance a given) harmony, a perfect Divine order, a special (initial or highest) phase of onto-and cosmogenesis.
As a consequence, there is a distinction between mathematical, aesthetic, artistic, ethical, ontological, etc. understanding of harmony. So, mathematical-first of all, the proportionality of parts and the whole, expressed in numerical proportions. The aesthetic is focused on the knowledge of beauty, qualitative identification of the inner nature and measure of things. The artistic actualizes the principle of harmony in art and presupposes not only balance, but also mutual transitions of the tragic and the comic, the sublime and the low, etc.
Historical background
In the philosophy of the Ancient East
The concept of harmony was first conceived in the ancient East. In the Old Testament, the text of which was codified around the 5th century BC, the world (Hebrew: оולו-olam) tends towards its Creator, and evil appears as resistance to this movement.
The Vedic tradition cherished the concept of being as Lila (skt. In ancient Indian philosophy, everything that exists was interpreted as a manifestation of the universal soul; the boundaries between the existence of gods, people, animals and plants were considered changeable and disharmonious; Lila was also understood as spiritual bliss from the transcendental deeds of the gods. In the Buddhist teaching, the realization of nirvana brings not only liberation from the fetters of samsara, but also a special existence of a free spirit (close to peace).
In ancient Chinese philosophy, from the 5th-2nd century BC, the consistency of the universe, the balance of opposites, and the mutual combination of substances were fixed by the category xe. In their interpretation of music, both natural and anthropological and ethical, philosophers have resorted to the analogy of music. Confucianism emphasized the importance of sugolosya in the family and the state, the relationship between states, between man and nature. This sub-voice is practiced by the will of Heaven, which is communicated through the Son of Heaven-the Emperor. In Taoism harmony is the principle by which all opposites achieve a state of unity and interdependence; a person can achieve the ideal if he follows the principle of u-wei (non-action).
In ancient philosophy
In ancient Greek mythology, the name harmony belonged to the daughter of Ares and Aphrodite, embodied the motif of uniting the warring elements and elements, overcoming the eternal confrontation between them through love and beauty. Harmony born in opposites appeared in different guises: physical (the state of the universe), ethical (morality), political (the world between polis).
In natural philosophical plots of the origin of the world, in particular cosmogonic myths and narratives, the concept of harmony is understood as the unity and formality of the whole: cosmos (Greek: κόσμος) how the ordered material universe is opposed to chaos. The concept of harmony thus lost its primary mythological and anthropomorphic meaning and was understood as the principle of the existence of the world. The first theoretically developed doctrine of harmony belongs to the Pythagoreans. Harmony in Pythagoreanism is organically connected with the concept of number and denoted the inner connection of things and phenomena in nature. The doctrine of the “harmony of the celestial spheres”, according to which the movement of the luminaries around the central world fire gives rise to beautiful music, included elements of aesthetics in cosmology. Heraclitus of Ephesus proposed an ontological understanding of harmony, which is not created by numbers or a mixture of parts, but is a sign of the thing itself in its integrity.
In classical Greek philosophy, the aestheticization of harmony gave way to ethicization. According to Socrates, knowledge is simultaneously a carrier of good, beauty-expediency (for example, a manure basket is a beautiful object if it functions as intended, and a Golden shield is ugly if it does not correspond to it). Plato he proposed a universal understanding of harmony, suitable both for explaining the universe and the moral and spiritual life of man.: in all spheres, harmony is related to measure (everything good is beautiful, and beautiful is what is proportionate). Platonic harmony is the proportionality of parts and the whole, internal and external, the consistency of thoughts and actions. In the dialogue, “The State” called harmony the virtue of a person who is attuned to consent.
Aristotle in his treatise” physics “brought harmony closer to the concept of order, and in” Nicomachean ethics ” — with the concept of the golden mean. Harmony appeared as a reflection of a balanced, fulfilled, and therefore perfect state, the optimum between “excess” and”lack”. Aristotle’s understanding of harmony is set forth in his doctrine of entelechy.
The concept of harmony remained important throughout the entire period of ancient philosophy. Epicurians (Philodemus of Gadara) and skeptics (Sextus Empiricus), Stoics (Marcus Tullius Cicero, Marcus Aurelius) and Neoplatonists (Plotinus) turned to him. It has become an important term for music and architecture: for example, Vitruvius, in his Ten Books on Architecture, understood harmony as a proportionality, the varieties of which are proportion and eurythmy. Traditions of extrapolating the ontological understanding of harmony to the musical one and vice versa persisted until Modern times.
In medieval philosophy
The category of harmony (mostly aestheticized) is also present in the medieval worldview, which is based on the Bible. In the religious worldview, it is the aesthetic understanding of harmony that has become most popular as a figurative embodiment of the divergence between the post-Arab world and the beyond, a “reflection” of the Divine, true, eternal, perfect in the fleeting, changeable, unstable human being.
According to Gregory of Nyssa, the Harmony of the world is similar to music and is a proof of the glory of God. Pseudo-Dionysius the Areopagiterecognized absolute divine beauty as the reason for the harmony of the existing. In the legacy of Augustine Aurelius, reasoning about harmony is connected with understanding the beauty of the whole world. Boethius outlined the problem of subjective perception of beauty. Thomas Aquinasinsisted that the world is a divine creation, but the secret of the wholeness of God’s purpose is hidden in the depths of corporeal things; we can only partially comprehend it through faith and reason.
In the philosophical thought of the Renaissance and Modern times
Since the Renaissance, the concept of harmony has been the subject of discussion by both artists and scientists. L. B. Alberti called harmony the law not only of art, but also of the nature of things and human life. M. Ficino defined beauty as harmony that cannot be reduced to proportions, since it is characterized by a lively, elusive grace. J. Pico della Mirandola understood harmony as the unity of the micro-and macrocosm. Arguments about harmony in the spirit of pantheism are found in J. Bruno and I. Kepler the latter revived the Pythagorean doctrine of the harmony of the spheres, supplemented it with astronomical observations, and called the laws of planetary motion a manifestation of divine harmony.
A special place in the hierarchy of philosophical concepts was given to the concept of “Harmony” by G. V. Leibniz. His name is associated with the doctrine of predestined harmony and the characterization of the actual world as “the best of all possible”. Leibniz defined harmony as the principle of existence of monads He saw in the conflict of good and evil, beauty and ugliness, pleasure and suffering, precisely the totality of diversity that makes the world purposeful and perfectly organized. For the thinker, harmony is universal and natural-inherent in organic and inorganic, physical and spiritual, connections and relationships.
In the Enlightenment culture, the emphasis was shifted from the realms of cosmology and metaphysics to the harmonious development of man. E. E. K. Shaftesbury interpreted the essence of morality as the harmony of individual and social inclinations, and recognized perfect aesthetic harmony of life as the highest ideal. J. V. Goethe called nature a great organism, in which the harmony of force and limits, freedom and measure dominates, and recognized the ideal of education as the fusion of a harmonious and free humanity. F. Schiller distinguished, along with the eternal beauty of the idea, also beauty in experience, the ideal of which is the harmony of sensual dependence and moral freedom.
I. Kant based aesthetic taste on the sense of harmony as coherence between reason and sensuality. G. V. F. Hegel considered it in a system of related aesthetic concepts: correctness, symmetry, regularity and interpreted it as a certain type of measure. According to him, harmony contains three components-internal unity, integrity and consistency (but its existence also implies disharmony).
F. Nietzsche introduced a dichotomy of the two primates of culture, which were the names of the ancient Greek gods Apollo and Dionysus: the Apollonian principle (order, plastic arts, poetry) contrasted with the Dionysian one (chaos, spontaneity, irrationality, ecstatic music and dance). He believed that in ancient culture both first-born children were harmonized in tragedy, but in Modern European art there is a dominance of Apollonian art and a tendency to dissonance (see Apollonian and Dionysian).
G. S. Skovoroda comprehended the inner spiritual harmony of the individual.
In the philosophy of the 20th and 21st centuries
The anthropological turn of modern philosophy has led to the understanding of harmony not as a metaphysical category, but primarily as a way of relating a person to the world and his existential experience and the inner integrity of the individual.
The concept of “harmony of personality” was introduced in philosophy and psychology of the 20th century. to indicate the optimal configuration of the individual and his way of life as self-actualization (A. Maslow, K. Rogers, V. Frankl, etc.). B. Russell in “education and social order” (1932) argued that the pleasure of life requires two types of harmony: internal harmony of the intellect, emotions and will, and external harmony with the will of others. J. Dewey (“art as experience”; 1934) argued that this category can only be applied to characterize human experience. (“Essay on Man”; 1945) called aesthetic harmony the result of a dynamic balance of polar forces, which characterizes not reality, but the result of the artist’s artistic experience. S. Lalo considered “harmony” to be the core category of aesthetics and distinguished its three varieties-achieved, sought and lost (achieved corresponds to the beautiful, grandiose and refined; sought-sublime tragic and dramatic, lost — wit, comic and humor). A. N. Whitehead considered beauty as a unity of harmony and disharmony. T. Adorno (“Theory of Aesthetics”; 1970) argued that the principle of harmony works even where art unconditionally obeys the dictates of inspiration.
There were also critical approaches: for example, B. Croce considered this category (along with other categories of aesthetics) to be a pseudo-concept devoid of philosophical content; T. Munro (1897-1974; USA) emphasized its excessive abstractness in the mainstream of naturalistic aesthetics.
In aesthetics, postmodern harmony is understood in connection with plurality and instability as something that appears and disappears. W. Welsch (born 1946, Germany) emphasizes that without multiplicity, there is no unity. The beauty of dissonances becomes the norm, so harmony is thought of as disharmonic, and the system combines chaos and cosmos into chaosmos, which can be seen in the reconstruction of Zh. Derrida, in the understanding of temptation in Zh. Baudrillard or an open work in U. Eco.
Meaning
In the most general sense, the category of harmony denotes the optimal correspondence of diversity and partial-whole, organic internal proportionality, tending to perfection. It acts as a qualitative characteristic of the aesthetic ideal, a criterion for aesthetic evaluation. It can indicate an unattainable perfection or an achievable ideal (in art).
The category is actively used not only in aesthetics, ethics, ontology and social philosophy, but also in psychology (harmony of personality, Harmony of interpersonal relations).
Quotes
“Harmony is consonance, consonance is agreement, and agreement between uncoordinated principles, as long as they are separated, is impossible. What is divided and uncoordinated cannot be made harmonious.”
Adorno T. teoriya estetiki [Theory of aesthetics]. Kiev: Osnovy Publ., 2002, p. 215.
“If there is no harmony now, it is because harmony was once false”
Plato. Pir / Translated from ancient Greek by U. Golovach / / Dukh i bukva. 2002. No. 9-10. P. 382.
https://vue.gov.ua/Александрійська_школа_античної_філософії
Characteristic
Neo-Platonism of the philosophical school was distinguished by its moderation and close connection with Christianity, primarily by the theological studies of the Alexandrian Catechetical School. A number of philosophers (Synesius, John Philoponus, Stephen of Byzantium) later became Christians; Hermias and David Anachtos were attracted to Christianity.
At the same time, the Alexandrian School was dominated by the desire to reconcile conflicting philosophical systems. Combining Eastern Theosophy with Greek dialectic, the Neo-Platonists reflected the ideological struggle of ancient civilization with Christianity. The ideas developed in the school influenced the understanding of the Christian faith in Egypt. As a result of the fusion of Eastern ideas with Christian teaching, some branches of Gnosticism were formed, and the most famous teachers of the Christian catechetical school were imbued with the spirit of Gnostic philosophy.
Thanks to the connection of philosophical and theological ideas in the school, the tradition of Hellenistic philosophy and exegesis was continued in Constantinople.
Literature
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- Westerink L. G. Texts and Studies in Neoplatonizm and Byzantine Literature. Amsterdam: A.M. Hakkert, 1980. 383 p.
- Mozgovoy I. P. Neoplatonism and Christianity. Sumy: Kazatsky Val Publ., 1997, 216 P.
- Mozgovoy I. P. Neoplatonism and patristics, or light in the twilight of a great civilization. Sums: State Higher Educational Institution “UABS NBU”, 2009. 471 p.
- The Alexandrian School in the History of Philosophical and Theological Thought. Moscow: KomKniga Publ., 2011.1008 p.
- Gegel G. V. F. Lectures on the history of philosophy. Moscow: EKSMO Publ., 2016, 256 p.
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Author of Vue
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These four links, reading lists and article extracts are from the Ukrainian Government Encyclopedia Online
