Juniper Publishers Annals of Social Sciences and Management studies

    Annals of Social Sciences & Management Studies-Juniper Publishers The History’s Lesson: Anthropological Crisis Not Economic The School of Athens that Raphael painted starting in 1508 when, aged 25, he was called to Rome by Pope Julius II. Raphael grew up during the Italian High Renaissance and drew (Figure 1). The leading lights of that era are all there, gathered around the two central characters: Plato, his finger pointing skywards to indicate the world of ideas and the spirit, and Aristotle, who instead stretches out his hand palm down to indicate the real world and scientific experience. The world of ideas and the spirit can never be divorced from an empirical quest for truth. So, everything must be focused on a search for what is true, for beauty, to promote the primary aim: the fulfilment of human happiness. But the world was by no means a paradise in either ancient Athens or in Raphael’s time. Both were times in which life was generally extremely hard, unrefined...

  Annals of Social Sciences & Management Studies-Juniper Publishers History The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: “Seek Knowledge of Causes,” “Divine Inspiration,” “Knowledge of Things Divine” (Disputa), “To Each What Is Due.” Accordingly, the figures on the walls below exemplify Philosophy, Poetry (including Music), Theology, and Law. The traditional title is not Raphael’s. The subject of the “School” is actually “Philosophy,” or at least ancient Greek philosophy, and its overhead tondo-label, “Causarum Cognitio”, tells us what kind, as it appears to echo Aristotle’s emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aris...

  Annals of Social Sciences & Management Studies-Juniper Publishers Mini Review The built environment can encourage or limit and render unsafe the behaviour of individuals within that space. The space that surrounds us can be imagined as a musical score, one that individuals may not realise they are constantly immersed in. The music that is played from that score conveys messages that shape our emotions and perceptions, and which allow us to know what can be expected and how we can act within the environment. This is a complex process that results from a continuous decoding of information and, as Lynch claimed, a mapping of the space that defines the city’s features as they are perceived by its inhabitants. However, when the built environment is completely out of synch with the needs of the people, the message produced is hostile. The people, as a result, do not feel comfortable and feel that they are in environments in which they have no control over the space-time rules that ...