身為存在主義及後現代主義先驅之一的尼采，之所以對西方文明造成嚴重的衝擊，就在於他毫不留情的抨擊西方傳統的兩大支柱—蘇格拉底精神所代表的理性文明與基督教道德信仰的彼岸世界！ 尼采認為人是「尚未定型的動物」，強調人的未完成性與可塑性，主張人並沒有一成不變的本質，每個人的本質端賴自己去創造。尼采不同於傳統哲學長期以來所重視的「理性人」，卻強調人的本能、情感對人的重要性，高唱戴奧尼索斯（Dionysus）頌歌。而在他心目中理想的人類圖像就是「超人」，其最重要的特色就在於「自我超越」，並將尼采的「強力意志」學說發揮地淋漓盡致。 尼采批評傳統二元論世界觀，認為只有我們生存的這個現實世界！這也正是尼采宣稱「上帝死了」所代表的劃時代意義。尼采的世界圖像是：一方面，只有我們所居住的這個世界；另一方面，受到赫拉克利特斯流變哲學的影響，尼采認為這個世界永遠地變化著，是個生成流變的世界、強力意志的世界：萬事萬物變化不居，這是世界原來的面貌，是與道德無關的，肯定「生成流變無罪」，同時因為萬物皆流，並不存在任何「確定性」，所有的價值、真理，因而也都不具有絕對支配性。同時，這也是個永恆回歸的世界。 尼采要人重估一切價值，而強力意志，或者更確切地說「生命」，正是作為衡量一切價值的新準繩，同時也是人們賴以重估價值的依據！所有價值、真理、知識，都要以「充實生命」為鵠的，都要展現每個人的強力意志。尼采認為佛教的出世觀、羅馬的極端世俗化，或是基督教的倫理生活、工業革命之後的科學生活，都無法克服人生的悲劇性，唯有透過藝術才是生命自救的途徑。他要人以「審美的人生」取代基督教的「倫理的人生」，因為基督教道德於生命為敵，使人的生命力衰退，於是他要我們向古希臘人看齊。 本文以「成為你自己」作為尼采教育目的，其核心概念就在於實現每個人的真摯性（authenticity）—評估自己的處境，並將一切價值化為己有！真摯性與以往哲學所強調的「自主性」（autonomy）最大的不同在於，自主性與理性有著密不可分的關係，真摯性卻是要實現完整的人，亦即全人！ 在知識教育方面，尼采的「觀點主義」強調一切都是詮釋，所謂的事實、真理並不存在，一切都是主觀的建構。沒有所謂的純粹認識，所有的真理其實都蘊含著價值判斷。知識、真理、邏輯等概念，其實都是人類為了生存所必須的「有用的偽造」，是人類「無可非難的錯誤」。因此，知識教學要重視學生的主觀建構，要讓學生將知識賦予自己的意義，將知識「化為己有」。同時，知識的最終目的在於「充實生命」，知識應當為人生而服務，而不是使人成了「學奴」。 尼采一直強調人要不斷地自我超越，教育當然也要致力於此，舞蹈則象徵了此一教育目的。尼采以「舞者的美德」同嚴肅的精神相對立，認為舞者能輕盈地漫步於傳統之上，以自由自在的舞步踏碎舊有成規，並從傳統束縛中解放出來，從事創造！在舞蹈中，人不但展現了人性，呈現人類存在的意義；同時也整合了自己的身心、思想與行動，並透過自己的詮釋創造出自己的意義，象徵了全人教育。教育就應當使人獲得這種「舞於當下」的實踐智慧！ 尼采生命哲學所描繪出的生命教育之目的，就是要使人獲得人生智慧。人誠然是個悲劇性的存有，尼采卻勉人：面對人生的悲劇性、熱愛生命、肯定生命，連同生命中的一切不幸與痛苦；人生的本質雖然是虛無的與痛苦的，可以藉由藝術的美化作用而獲得人生意義；甚至要學會「笑一切悲劇」。同時，既然生命是與道德無關的，那麼何妨做個非道德者，擺脫對於生命的道德詮釋，自由自在地悠遊於天地之間，好好地享受生命！ 尼采生命哲學對當前教育的啟示有四點：（一）生命教育的重視；（二）教育鬆綁；（三）人文與科技的整合；（四）情意智慧的培養。

Данная работа нацелена на осуществление историко-философского анализа концептов музыки и времени в философии жизни и выявление степени их взаимовлияния. Исследуются представления о концептах музыки и времени А. Шопенгауэра, Ф. Ницше, Р. Вагнера, Д. Бергсона и о. Шпенглера. Анализируется влияние романтизма на объяснение данных концептов в философии жизни. / Тhe master's thesis is aimed at carrying out a historical and philosophical analysis of the concepts of music and time in the philosophy of life and identifying the degree of their mutual influence. The ideas about the concepts of music and time by A. Schopenhauer, F. Nietzsche, R. Wagner, D. Bergson and O. Spengler are investigated. The influence of Romanticism on the explanation of these concepts in the philosophy of life is analyzed.

This thesis is an attempt to interpret the novel of Ladislav Fuks - The duchess and the art of cookery. It is focused on the relationship of its fictional world with culture and with the philosophy of biedermeier. Biedermeier is thought to be a value stream, a harmonizing approach to life, and also a method, which prefers idylls. The analytic source is Gérard Genette's theory of transtextuality, chosen because of Fuks's distinctive intertextuality of his work.

Comment les êtres, humains ou plus-qu’humains, en viennent-ils à partager leurs mouvements ? Qu’est-ce qui exauce, soutient ou empêche la confluence de leurs gestes ? Ces questions sont des questions métaphysiques (question de la comobilité des êtres), anthropologiques (question du vivre-ensemble) ou biologiques (question de la symbiose) : pour y répondre, il est de bonne méthode de lire des philosophes, des anthropologues, des biologistes. Nous avons décidé de les adresser à une pratique chorégraphique : le Contact Improvisation, une forme de danse initiée par le chorégraphe américain Steve Paxton en 1972, et où danseurs et danseuses se sautent les un-es sur les autres, entrent en contact les un-es avec les autres, roulent par terre et tombent dans les airs, considérant que la philosophie avait tout intérêt à reconnaître que danseurs et danseuses non seulement savent bouger ensemble, mais, plus important, savent s’apprendre et penser la manière dont ils bougent ensemble. / How do human and more-than-human beings come to share movements? What supports, hinders or ignites the confluence of their gestures? These questions are metaphysical (how do things coexist?), anthropological (how to live together?), and biological (how do we merge and exist symbiotically?): to answer them, our anthropo-phenomenological “philosophy of gestures” offers a reading of contemporary philosophers, anthropologists and biologists. But next to those field specialists, the investigations also led us to ask our questions to dancers and to a dance practice—Contact Improvisation, a movement form that was initiated by North American choreographer in 1972, where dancers jump at each other, enter in contact, roll on the ground and fall in the air. Our hypothesis was simple: we are in urgent need to renew our understanding of movement and specifically of our ways of moving together (with other, humans or more-than-humans), who better than dancers to lead the inquiry with?

<p>This essay describes the phases of funeral rituals between the Syrian/Assyrian, and compares the homeland with Sweden. It describes the stage of rituals according to Victor Turner schema of separation, margin or limin, and aggregation. The rituals religious significance agrees with Clifford Geertz’s theory about the importance of religious beliefs for the human being</p>

This essay describes the phases of funeral rituals between the Syrian/Assyrian, and compares the homeland with Sweden. It describes the stage of rituals according to Victor Turner schema of separation, margin or limin, and aggregation. The rituals religious significance agrees with Clifford Geertz’s theory about the importance of religious beliefs for the human being

Christian Education South Africa (CESA), formerly known as Accelerated Christian Education (South Africa) or ACE(SA), represents a significant number of evangelical Christian schools in South Africa. Most CESA schools are multiracial· and part of charismatic fellowships. The purpose of this study was to investigate CESA {its roots, philosophy of education and methodology) and to evaluate the quality of Christian education offered at CESA schools. Firstly, 'sound Christian education' was defined. Secondly, a model for assessing Christian education was developed. The SAPPAB model with its six criteria (spiritual, academic, physical, practical, administrative and balance) assess both the biblical and t educational 'soundness' of an education programme . . Information was gathered over six years by way of interviews, surveys, ethnographic and in-depth case studies. Evaluations included individual CESA schools, CESA as an organization and the ACE programme. The major finding was that individual CESA schools do contribute meaningfully to sound Christian education, but that the organization as such lost its vision and its influence. / Educational Studies / M. Ed. (History of Education)

Christian Education South Africa (CESA), formerly known as Accelerated Christian Education (South Africa) or ACE(SA), represents a significant number of evangelical Christian schools in South Africa. Most CESA schools are multiracial· and part of charismatic fellowships. The purpose of this study was to investigate CESA {its roots, philosophy of education and methodology) and to evaluate the quality of Christian education offered at CESA schools. Firstly, 'sound Christian education' was defined. Secondly, a model for assessing Christian education was developed. The SAPPAB model with its six criteria (spiritual, academic, physical, practical, administrative and balance) assess both the biblical and t educational 'soundness' of an education programme . . Information was gathered over six years by way of interviews, surveys, ethnographic and in-depth case studies. Evaluations included individual CESA schools, CESA as an organization and the ACE programme. The major finding was that individual CESA schools do contribute meaningfully to sound Christian education, but that the organization as such lost its vision and its influence. / Educational Studies / M. Ed. (History of Education)