Osho: Buntovnik je duhovni pojam

Ne samo da postoji razlika već postoji veoma bitna razlika između buntovnika i revolucionara. Revolucionar je dio političkog svijeta. Njegov pristup je politički, njegovo shvaćanje je takvo da ako želiš promijeniti društvenu strukturu dovoljno je promijeniti čovjeka na vlasti. Buntovnik je duhovni pojam. Njegov pristup je sasvim individualan. Njegova vizija je bazirana na tome da se mora promijeniti individua iznutra ako želiš promijeniti društvo. Društvo kao takvo ne postoji, to je samo riječ, isto kao i riječ “masa”. Ako pokušaš to negdje pronaći nećeš uspjeti jer se sa masom ne možeš sresti već samo sa individuom. Društvo je samo ime za kolektiv - samo ime, a ne stvarnost - ime bez sadržaja. Individua ima dušu, ima mogućnost evoluiranja, mijenjanja, transformacije; dakle, razlika je ogromna. Buntovnik je stvarna esenca religije. On je donio na svijet promjenu svijesti. Ako se svijest promijeni tada i struktura društva to mora da slijedi. Obratno nije moguće - to je pokušavano od strane svih revolucionara ali se nije uspjelo, svi su u tome griješili. Još nijedna revolucija nije uspjela da promijeni čovjeka - dokaz leži u činjenici njegove svijesti. On i dalje nastavlja da razmišlja o revoluciji. Oni su pogriješili sasvim jer je čovjek ostao isti.


Comments

Post a Comment

Popular posts from this blog

Marina Abramović - Walk Through Walls (excerpt)

Image
Once I was a postwoman. Not for very long, though. None of us had wanted to go back to Belgrade when the festival was over, but in order to stay in Edinburgh, we had to find work. So I got a job as a mail lady. I was excited about my new job, but after a few exhausting days of walking around the city, often lost and not speaking the language very well, I decided to only deliver the envelopes with nice handwritten addresses and throw out everything else—especially the bills. My supervisor asked me to return my uniform. That was that for postal work. Then Demarco asked me if I knew anything about interior design. “Of course,” I said. Of course I knew nothing. He took me to an architectural firm and introduced me to one of the principals. “We are designing a dining room for a luxury cruise ship,” the guy said. “Can you give us your input?” I reported for work the next morning. The first thing I did was to take a pile of white paper and draw a closely spaced grid on each sheet. I...
Keep reading

Ariana Huffington - Maria Callas (part I)

Image
(1923-1941) Maria's fighting instinct beginning to assert itself, but it was still her mother who was the force driving her on. Evangelia’s head may have been in the clouds about her daughter’s prospects, and her heart nowhere in evidence, but her feet were solidly on the ground. The conclusion she reached in the last days of 1936 was that, if Maria was to have the teachers and training she would need for the career Evangelia dreamed of, they would have to return to Greece. There, with her family’s musical connections and without her husband’s constant objections, she could dedicate herself even more thoroughly to the polishing of the treasure she was convinced she held in her hands. However logical the arguments in favor of leaving for Greece, the arguments against the move were equally compelling. In the end it was not logic, but instinct that resolved Evangelia’s dilemma. She had a dream in which her father—the figure who from her childhood had been most irrevocably associat...
Read more

Sreten Petrović: Mit, religija i umetnost

Image
Kada je Ernst Bloh sa najdubljim filozofskim uverenjem rekao da „nema umetnosti bez mitološkog tla, i nikada je neće biti bez nekog verovanja”, dodavši da je mit trajni izvor i iskon umetnosti? [1], on je time potcrtao privrženost Šelingovoj metafizici i romantičkoj ideji njegove Filozofije umetnosti i Filozofije mitologije, da je mit osnov i inspiracija umetnosti.  Prva polovina XIX veka u znaku je obnovljenog interesa za mitologiju i umetnost, što je posledica novih duhovnih okolnosti, u kojima se uz uspon i obogotvoravanje nauke a sa njom i nove vere u istorijski napredak koji se oslanja na tehniku, shvatilo da se nikakav pomak u budućnosti ne može učiniti na štetu tradicije i vrednosti duha koje su položene u prošlim vekovima. Zahvaljujući romantičkom poletu, shvaćena je na pravi način ideja o neophodnosti očuvanja ravnoteže između sadašnjosti i prošlosti, na kojoj je kao na epohalnom projektu, samo koju deceniju ranije, istrajavao Ž. Ž. Ruso, ustajući protiv optimistički...
Read more