This article has multiple issues. Please help improve it or discuss these issues on the talk page . (Learn how and when to remove these template messages)
|
Theatrum Mundi (or the Great Theater of the World) is a metaphorical concept developed throughout Western literature and thought, apparent in theories of the world such as Plato's Allegory of the Cave, and a popular idea in the Baroque Period among certain writers. [1] This metaphysical explanation of the world portrays the world as a theater (apparent in Shakespeare's saying that "all the world's a stage") wherein people are characters and their actions form a drama, with God as the author, specifically for some Christian thinkers. This metaphor can take various forms, some more deterministic than others, and has also been formulated in different fashions, such as the world as chess game by the Persian philosopher Omar Khayyam. In each formulation of the theatrum mundi, though, the world is a sum greater than its parts, where various roles are played by different actors.
The world as a stage was expressed among the ancient Greeks, and especially gained popularity among Stoic and Neoplatonist philosophers such as Plotinus in the late antiquity of the Roman Empire. In Neoplatonism, which went on to influence Christianity, the belief of the separate realm of the soul and its transcendence above the instability of worldly affairs influenced philosophers and later, important Christian figures like St. Augustine to view the world as a theatrical spectacle.
The relation of God to humanity and the world was expressed throughout the Middle Ages. John of Salisbury, a 12th-century theologian especially coined the term theatrum mundi, characterized by commenting that saints "despise the theater of this world from the heights of their virtue". In several chapters of the third book of his Policraticus , a moral encyclopedia, he meditates on the fact that "the life of man on earth is a comedy, where each forgetting his own plays another's role". The comedy takes place on the scene/in the world, while the auditorium is associated to the Christian paradise. Only a few sages, like some Stoic philosophers or the prophets like Abraham or John the Baptist, are able to accept the role given by God. This acceptation allows them to extract themselves from the theatrum mundi, to adopt a celestial position in the auditorium, and to watch and understand the roles played in the comedy. [2]
The metaphor had intercourse with the actual theater, which conversely could be conceived as the world, in microcosm. The idea continued to be expressed throughout the early modern period less as a strictly theological or philosophical metaphor and began inserting itself in various forms of literature and rhetorical expressions, taking on different meanings in different social and political contexts having dramatic overtones. It is possible that it gradually began to lose its religious connotations, and the theatrum mundi took on more of a secular, political aspect. But going back to Plato's emphasis in Laws of a protagonist embodying the ideal political subject by reflecting the ideal plane, this both political and theological formulation of theatrum mundi was eventually propagated by Tertullian to the point where the sociological idea of roles (or an established form of behavior for individuals within society) descends from it as well. Additionally, it was also cultivated by the transition towards new social forms; for instance, the trappings of the feudal monarchy in England was seen as "empty" and "theatrical" because they occurred in the social context of an ascendant capitalism. It was in England, moreover, where the metaphor was the most developed, although it was also refined in Spain.
Transforming with the developments of philosophy and culture, the theatrum mundi became less popular in the 18th and 19th centuries, but more recently reconceptualizations have developed among Situationists and Jean Baudrillard, as well as Brecht, Beckett, and Artaud- connected to the development of the theoretical and artistic frameworks of the Spectacle, theatre of cruelty, and the simulacrum, emphasizing the reification of the world and its relations.
Heraclitus was an ancient Greek pre-Socratic philosopher from the city of Ephesus, which was then part of the Persian Empire. He exerts a wide influence on ancient and modern Western philosophy, including through the works of Plato, Aristotle, Hegel, and Heidegger.
Relativism is a family of philosophical views which deny claims to objectivity within a particular domain and assert that valuations in that domain are relative to the perspective of an observer or the context in which they are assessed. There are many different forms of relativism, with a great deal of variation in scope and differing degrees of controversy among them. Moral relativism encompasses the differences in moral judgments among people and cultures. Epistemic relativism holds that there are no absolute principles regarding normative belief, justification, or rationality, and that there are only relative ones. Alethic relativism is the doctrine that there are no absolute truths, i.e., that truth is always relative to some particular frame of reference, such as a language or a culture. Some forms of relativism also bear a resemblance to philosophical skepticism. Descriptive relativism seeks to describe the differences among cultures and people without evaluation, while normative relativism evaluates the word truthfulness of views within a given framework.
Ancient Greek philosophy arose in the 6th century BC. Philosophy was used to make sense of the world using reason. It dealt with a wide variety of subjects, including astronomy, epistemology, mathematics, political philosophy, ethics, metaphysics, ontology, logic, biology, rhetoric and aesthetics. Greek philosophy continued throughout the Hellenistic period and later evolved into Roman philosophy.
Philo of Alexandria, also called Philō Judæus, was a Hellenistic Jewish philosopher who lived in Alexandria, in the Roman province of Egypt.
Logos is a term used in Western philosophy, psychology and rhetoric, as well as religion ; among its connotations is that of a rational form of discourse that relies on inductive and deductive reasoning.
Mimesis is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, nonsensuous similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.
Christianity and Hellenistic philosophies experienced complex interactions during the first to the fourth centuries.
The concept of the anima mundi (Latin), world soul, or soul of the world posits an intrinsic connection between all living beings, suggesting that the world is animated by a soul much like the human body. Rooted in ancient Greek and Roman philosophy, the idea holds that the world soul infuses the cosmos with life and intelligence. This notion has been influential across various systems of thought, including Stoicism, Gnosticism, Neoplatonism, and Hermeticism, shaping metaphysical and cosmological frameworks throughout history.
Middle Platonism is the modern name given to a stage in the development of Platonic philosophy, lasting from about 90 BC – when Antiochus of Ascalon rejected the scepticism of the new Academy – until the development of neoplatonism under Plotinus in the 3rd century. Middle Platonism absorbed many doctrines from the rival Peripatetic and Stoic schools. The pre-eminent philosopher in this period, Plutarch, defended the freedom of the will and the immortality of the soul. He sought to show that God, in creating the world, had transformed matter, as the receptacle of evil, into the divine soul of the world, where it continued to operate as the source of all evil. God is a transcendent being, who operates through divine intermediaries, which are the gods and daemons of popular religion. Numenius of Apamea combined Platonism with neopythagoreanism and other eastern philosophies, in a move which would prefigure the development of neoplatonism.
The philosopher king is a hypothetical ruler in whom political skill is combined with philosophical knowledge. The concept of a city-state ruled by philosophers is first explored in Plato's Republic, written around 375 BC. Plato argued that the ideal state – one which ensured the maximum possible happiness for all its citizens – could only be brought into being by a ruler possessed of absolute knowledge, obtained through philosophical study. From the Middle Ages onwards, Islamic and Jewish authors expanded on the theory, adapting it to suit their own conceptions of the perfect ruler.
Platonism is the philosophy of Plato and philosophical systems closely derived from it, though contemporary Platonists do not necessarily accept all doctrines of Plato. Platonism has had a profound effect on Western thought. At the most fundamental level, Platonism affirms the existence of abstract objects, which are asserted to exist in a third realm distinct from both the sensible external world and from the internal world of consciousness, and is the opposite of nominalism. This can apply to properties, types, propositions, meanings, numbers, sets, truth values, and so on. Philosophers who affirm the existence of abstract objects are sometimes called Platonists; those who deny their existence are sometimes called nominalists. The terms "Platonism" and "nominalism" also have established senses in the history of philosophy. They denote positions that have little to do with the modern notion of an abstract object.
Philosophy and literature involves the literary treatment of philosophers and philosophical themes, and the philosophical treatment of issues raised by literature.
Metatheatre, and the closely related term metadrama, describes the aspects of a play that draw attention to its nature as drama or theatre, or to the circumstances of its performance. "Breaking the Fourth Wall" is an example of a metatheatrical device.
The architectural form of theatre in Rome has been linked to later, more well-known examples from the 1st century BC to the 3rd Century AD. The theatre of ancient Rome referred to a period of time in which theatrical practice and performance took place in Rome. The tradition has been linked back even further to the 4th century BC, following the state’s transition from monarchy to republic. Theatre during this era is generally separated into genres of tragedy and comedy, which are represented by a particular style of architecture and stage play, and conveyed to an audience purely as a form of entertainment and control. When it came to the audience, Romans favored entertainment and performance over tragedy and drama, displaying a more modern form of theatre that is still used in contemporary times.
The argument from beauty is an argument for the existence of a realm of immaterial ideas or, most commonly, for the existence of God, that roughly states that the evident beauty in nature, art and music and even in more abstract areas like the elegance of the laws of physics or the elegant laws of mathematics is evidence of a creator deity who has arranged these things to be beautiful and not ugly.
This page is a list of topics in ancient philosophy.
Neoplatonism was a major influence on Christian theology throughout Late Antiquity and the Middle Ages in the East, and sometimes in the West as well. In the East, major Greek Fathers like Basil, Gregory of Nyssa and Gregory of Nazianzus were influenced by Platonism and Neoplatonism, but also Stoicism often leading towards asceticism and harsh treatment of the body, for example stylite asceticism. In the West, St. Augustine of Hippo was influenced by the early Neoplatonists Plotinus and Porphyry. Later on, in the East, the works of the Christian writer Pseudo-Dionysius the Areopagite, who was influenced by later Neoplatonists such as Proclus and Damascius, became a critical work on which Greek church fathers based their theology, like Maximus believing it was an original work of Dionysius the Areopagite.
Neoplatonism is a version of Platonic philosophy that emerged in the 3rd century AD against the background of Hellenistic philosophy and religion. The term does not encapsulate a set of ideas as much as a series of thinkers. Among the common ideas it maintains is monism, the doctrine that all of reality can be derived from a single principle, "the One".
Over the ages, Italian philosophy had a vast influence on Western philosophy, beginning with the Greeks and Romans, and going onto Renaissance humanism, the Age of Enlightenment and modern philosophy. Philosophy was brought to Italy by Pythagoras, founder of the school of philosophy in Crotone, Magna Graecia. Major philosophers of the Greek period include Xenophanes, Parmenides, Zeno, Empedocles and Gorgias. Roman philosophers include Cicero, Lucretius, Seneca the Younger, Musonius Rufus, Plutarch, Epictetus, Marcus Aurelius, Clement of Alexandria, Sextus Empiricus, Alexander of Aphrodisias, Plotinus, Porphyry, Iamblichus, Augustine of Hippo, Philoponus of Alexandria and Boethius.
Antitheatricality is any form of opposition or hostility to theater. Such opposition is as old as theater itself, suggesting a deep-seated ambivalence in human nature about the dramatic arts. Jonas Barish's 1981 book, The Antitheatrical Prejudice, was, according to one of his Berkeley colleagues, immediately recognized as having given intellectual and historical definition to a phenomenon which up to that point had been only dimly observed and understood. The book earned the American Theater Association's Barnard Hewitt Award for outstanding research in theater history. Barish and some more recent commentators treat the anti-theatrical, not as an enemy to be overcome, but rather as an inevitable and valuable part of the theatrical dynamic.
Quiring, Bjorn. Revisions of the Theatrum Mundi Metaphor in Early Modern England. De Gruyter, 2014.