not a cave

“Spinoza’s ethical views are inextricably intertwined with his metaphysics, and it may be doubted whether his metaphysics is as good as is supposed by followers of Hegel. But the general attitude towards life and the world which he inculcates does not depend for its validity upon a system of metaphysics. He believes that all human ills are to be cured by knowledge and understanding; that only ignorance of what is best makes men think their interests conflicting, since the highest good is knowledge, which can be shared by all. But knowledge, as he conceives it, is not mere knowledge as it comes to most people; it is “intellectual love,” something coloured by emotion through and through. This conception is the key to all his valuations.

“It is knowledge,” he says, “which is the cause of love, so that when we learn to know God in this way, we must necessarily unite ourselves to Him, for He cannot be known, nor can He reveal Himself save as that which is supremely glorious and good.”

And owing to Spinoza’s pantheism, love of God, for him, included love of humanity. The love of humanity is a background to all his thoughts, and prevents the coldness which his intellectualism might otherwise engender. It was through the union of the love of truth and the love of humanity, combined with an entire absence of self-seeking, that he achieved a nobility, both in life and in speculation, which has not been equaled by his predecessors or successors in the realm of philosophy.”

Bertrand Russell

https://users.drew.edu/~jlenz/br-review-of-spinoza2.html

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Portrait of a Young Woman

“La Fornarina as a witch

Muriel Segal’s book Painted Ladies provides the theory that La Fornarina represents a witch. According to the author, during the time period that this painting was made, “the baker’s daughter” did not indicate that a woman’s father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare’s Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess.[14] The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that La Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal’s interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil,[15] the women who practiced magic did so to support themselves by providing potions and spells for her patrons’ desires.[16] The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts (full lips, large breasts, wide hips, etc). Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist’s paintings.”

https://www.wikiwand.com/en/La_Fornarina

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“Leonardo was more than thirty years older than Raphael, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike Raphael even more, attributing conspiracies against him to the younger man…

…Raphael was clearly influenced by Michelangelo’s Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly.”

https://www.wikiwand.com/en/Raphael

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This is not Bertrand

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This is not a Cave

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David (Michelangelo)

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The greatest artist does not have any concept
Which a single piece of marble does not itself contain
Within its excess, though only
A hand that obeys the intellect can discover it

Michelangelo Buonarroti

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Engin

psikoserum tarafından yayımlandı

Kocaeli Üniversitesi Psikolojik Danışmanlık ve Rehberlik

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