‘Development in the science of the spirit will always … involve what we may call developing the inner meaning and inner configuration of our language.’ – Rudolf Steiner Our present-day language cannot easily convey spiritual concepts. Rudolf Steiner’s search for the words and style to bring to expression a contemporary spiritual worldview epitomises this. In seven organically developing chapters, this little book presents Martina Maria Sam’s long-standing research into this subject. As a writer, editor and lecturer she observed the increasing difficulty that many people – particularly those with an academic training – have with Steiner’s style. However, this style was something that Rudolf Steiner developed very deliberately. As she states: ‘What was most important for me in this was to point out Rudolf Steiner’s intentions in his specific and often original linguistic forms and, consequently, to create the introductory basis for a deeper understanding.’ Gaining such understanding, she says, can in turn enable us to develop insight into the spirit. Sam begins by quoting some of Steiner’s contemporaries, who criticized his ‘grating’ style. She describes why he had to create new forms of expression and examines the specific character of his lectures. She considers two comprehensive stylistic principles that permeate Steiner’s entire body of work, and his special handling of the pictorial element in language. Close attention is paid to Rudolf Steiner’s construction of meditative verses and mantras, and the development of an artistic, linguistically-creative element that will only be possible in the future.
‘Development in the science of the spirit will always … involve what we may call developing the inner meaning and inner configuration of our language.’ – Rudolf Steiner Our present-day language cannot easily convey spiritual concepts. Rudolf Steiner’s search for the words and style to bring to expression a contemporary spiritual worldview epitomises this. In seven organically developing chapters, this little book presents Martina Maria Sam’s long-standing research into this subject. As a writer, editor and lecturer she observed the increasing difficulty that many people – particularly those with an academic training – have with Steiner’s style. However, this style was something that Rudolf Steiner developed very deliberately. As she states: ‘What was most important for me in this was to point out Rudolf Steiner’s intentions in his specific and often original linguistic forms and, consequently, to create the introductory basis for a deeper understanding.’ Gaining such understanding, she says, can in turn enable us to develop insight into the spirit. Sam begins by quoting some of Steiner’s contemporaries, who criticized his ‘grating’ style. She describes why he had to create new forms of expression and examines the specific character of his lectures. She considers two comprehensive stylistic principles that permeate Steiner’s entire body of work, and his special handling of the pictorial element in language. Close attention is paid to Rudolf Steiner’s construction of meditative verses and mantras, and the development of an artistic, linguistically-creative element that will only be possible in the future.
Wie gestalten sich die Arbeits- und Lebenswelten von jungen UNO-Beschäftigten in Zeiten des Postfordismus? Ausgehend von der Perspektive junger Beschäftigter an den UNO-Standorten in Genf und Wien befasst sich das Buch mit der zunehmenden Flexibilisierung und Arbeitsplatzunsicherheit. Die Studie legt ein besonderes Augenmerk auf mikrostrukturelle Machtpraktiken und die individuelle Agency. Sie zeigt, wie UNO-Beschäftigte ihre persönlichen Erzählungen mit dem in den vergangenen Jahren und Jahrzehnten kreierten Organisationsbild in Einklang bringen, und in welchem Wechselspiel die prekären Beschäftigungsverhältnisse mit einem moralischen Überlegenheitsgefühl stehen. Dabei wird deutlich, dass diese Entwicklungen keinen Widerspruch darstellen, sondern zwei Seiten derselben Medaille sind. Das Buch zeigt am Beispiel der UNO auf, wie flexible Beschäftigungsverhältnisse in Zeiten des kognitiv- und affektbasierten Kapitalismus auf Biographien wirken. https://creativecommons.org/licenses/by-sa/4.0/
‘Did Rudolf Steiner dream these things? Did he dream them as they once occurred, at the beginning of all time? They are, for sure, far more astonishing than the demiurges and serpents and bulls found in other cosmogonies.’ – Jorge Luis Borges Rudolf Steiner, founder of anthroposophy, recorded his view of the world in many books, but also in over 5,000 lectures. Through the latter medium particularly, he explained his ideas on a wide range of subjects, including education, science, the social question, art, architecture, medicine and agriculture. Steiner spoke freely, using only minimal notes. But when explaining conceptually difficult subject matter, he frequently resorted to illustrating what he was saying with coloured chalks on a large blackboard. After the lecture the drawings were rubbed out and thus irretrievably lost – but not in every case. From the autumn of 1919, thick black paper was used to cover the blackboards, so that the drawings could be rolled up and stored. The trustees of Rudolf Steiner’s estate in Dornach, Switzerland, possess over 1,000 of these drawings, which visually document Steiner’s view of the world and his creative way of thinking. A selection of the drawings was first shown to a wider public in 1992. Since then, numerous exhibitions in Europe, America and Japan have generated great interest in Rudolf Steiner’s work. WALTER KUGLER, born in 1948, began working in the Archive of the Trustees of Rudolf Steiner’s Estate in 1982 as one of the editors of the Complete Works.
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