Eight important early writings by twentieth-century Russian Orthodox theologian Pavel Florensky-Most of them presented in English translation for the first time. Splendidly interweaving religious, scientific, and literary themes, these essays showcase the diversity of Florensky's broad learning and interests and include his reflections on the sacraments, Russian monastic culture, and other topics. The volume concludes with "The Salt of the Earth," arguably Florensky's most spiritually moving work. Book jacket.
Pavel Florensky--certainly the greatest Russian theologian of the last century--is now recognized as one of Russia's greatest polymaths. Known as the Russian Leonardo da Vinci, he became a Russian Orthodox priest in 1911, while remaining deeply involved with the cultural, artistic, and scientific developments of his time. Arrested briefly by the Soviets in 1928, he returned to his scholarly activities until 1933, when he was sentenced to ten years of corrective labor in Siberia. There he continued his scientific work and ministered to his fellow prisoners until his death four years later. This volume is the first English translation of his rich and fascinating defense of Russian Orthodox theology. Originally published in 1914, the book is a series of twelve letters to a "brother" or "friend," who may be understood symbolically as Christ. Central to Florensky's work is an exploration of the various meanings of Christian love, which is viewed as a combination of philia (friendship) and agape (universal love). Florensky is perhaps the first modern writer to explore the so-called "same-sex unions," which, for him, are not sexual in nature. He describes the ancient Christian rites of the adelphopoiesis (brother-making), joining male friends in chaste bonds of love. In addition, Florensky is one of the first thinkers in the twentieth century to develop the idea of the Divine Sophia, who has become one of the central concerns of feminist theologians.
Beyond Vision is the first English-language collection of essays on art by Pavel Florensky (1882–1937), Russian philosopher, priest, linguist, scientist, mathematician – and art historian. In addition to seven essays by Florensky, the book includes a biographical introduction and an examination of Florensky’s contribution as an art historian by Nicoletta Misler. Beyond Vision reveals Florensky’s fundamental attitudes to the vital questions of construction, composition, chronology, function and destination in the fields of painting, sculpture and design. His reputation as a theologian and philosopher is already established in the English-speaking world, but this first collection in English of his art essays (translated by Wendy Salmond) will be a revelation to those in the field. Pavel Florensky was a true polymath: trained in mathematics and philosophy at Moscow University, he rejected a scholarship in advanced mathematics in order to study theology at the Moscow Theological Academy. He was also an expert linguist, scientist and art historian. A victim of the Soviet government’s animosity towards religion, he was condemned to a Siberian labor camp in 1933 where he continued his work under increasingly difficult circumstances. He was executed in 1937.
This is the first complete English translation of Pavel Florensky's original and ambitious attempt to arrive at a geometric representation of imaginary numbers, in a context that had already captured the attention of other mathematicians, including Gauss, Argan, Cauchy and Bellavitis. Florensky did not limit his attempt solely to complex projective geometry, but extended it to encompass Ptolemaic-Dantean cosmology and Einstein's Principle of Relativity, as well as a new epistemological theory. The resulting treatise combines various disciplines and explores the relationship between an immanent realm of knowledge and a transcendent one.
These are the complete letters written Pavel Florensky after his arrest in 1933 and before his transfer to the Solovki Islands in 1934. They reveal a character which accepted misfortune and injustice with dignity and hope, a keen mind ready to apply itself to new circumstances, and a heart full of longing and gentle love for his family. Pavel Alexandrovich Florensky, born in Azerbaijan in 1882, was a gifted polymath who studied nearly every science available to him and was also well-versed in art and literature. He was also a Russian Orthodox priest and noted theologian. In his time at the gulag in Russia's Amur Region, he applied himself to the study of permafrost and wrote letters to his children, often guiding them in their studies, drawing from his wealth of expertise.
Profound writings by one of the twentieth century's greatest polymaths "Perhaps the most remarkable person devoured by the Gulag" is how Alexandr Solzhenitsyn described Pavel Florensky, a Russian Orthodox mathematician, scientist, linguist, art historian, philosopher, theologian, and priest who was martyred during the Bolshevik purges of the 1930s. This volume contains eight important religious works written by Florensky in the first decade of the twentieth century, now translated into English—most of them for the first time. Splendidly interweaving religious, scientific, and literary themes, these essays showcase the diversity of Florensky's broad learning and interests. Including reflections on the sacraments and explorations of Russian monastic culture, the volume concludes with "The Salt of the Earth," arguably Florensky's most spiritually moving work.
Pavel Florensky--certainly the greatest Russian theologian of the last century--is now recognized as one of Russia's greatest polymaths. Known as the Russian Leonardo da Vinci, he became a Russian Orthodox priest in 1911, while remaining deeply involved with the cultural, artistic, and scientific developments of his time. Arrested briefly by the Soviets in 1928, he returned to his scholarly activities until 1933, when he was sentenced to ten years of corrective labor in Siberia. There he continued his scientific work and ministered to his fellow prisoners until his death four years later. This volume is the first English translation of his rich and fascinating defense of Russian Orthodox theology. Originally published in 1914, the book is a series of twelve letters to a "brother" or "friend," who may be understood symbolically as Christ. Central to Florensky's work is an exploration of the various meanings of Christian love, which is viewed as a combination of philia (friendship) and agape (universal love). Florensky is perhaps the first modern writer to explore the so-called "same-sex unions," which, for him, are not sexual in nature. He describes the ancient Christian rites of the adelphopoiesis (brother-making), joining male friends in chaste bonds of love. In addition, Florensky is one of the first thinkers in the twentieth century to develop the idea of the Divine Sophia, who has become one of the central concerns of feminist theologians.
A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country’s most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region’s contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.
Iconostasis is Fr. Pavel's final theological work. Composed in 1922, it explores in highly original terms the significance of the icon: its philosophic depth, its spiritual history, its empirical technique. In doing so, Fr. Pavel also sketches a new history of both Western religious art and the Orthodox icon: a history under the direct operation of the Holy Spirit. The work is original, challenging and profoundly articulate. This translation is the first complete English version.
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