It is well documented that the application of business models to the higher education sector has precipitated a managerialistic approach to organisational structures ( Preston, 2001 ). Less well documented is the impact of this business ideal on the student-teacher encounter. It is argued that this age-old relation is now being configured (conceptually and organisationally) in terms peculiar to the business sector: as a customer-product relation. It is the applicability and suitability of such a configuration that specifically concerns this contribution. (...) The paper maintains that the move to describe the student-teacher relation in these terms is indeed inappropriately reductive, but not straightforwardly so. The problem arises in that we remain unsure of the contemporary purpose of education. We lack any firm educational ideals that, in themselves, cannot be encompassed by the business paradigm. Indeed, the pedagogical critique of education (broadly, that education is only of use in as much as it is of use to society) extends further than has yet been intimated and prevents one securing any educational ideal that does not immediately succumb to critique. This pedagogical logic is unassailable in any linear way but, when pressed, precipitates an aporetic moment that prevents it from assuming any totalising hold over education. We draw on the work of Emmanuel Levinas and Jacques Derrida to consider whether one might yet imagine an educational 'quasi-ideal' that will enable practitioners and institutions to counter the effects of customerisation. (shrink)

[T]here is a coring out [dénucléation], of the imperfect happiness which is the murmur [battement] of sensibility. There is a non-coinciding of the ego with itself, restlessness, insomnia, beyond w...

Opening with a consideration of the methodological stakes, the paper examines, in a preparatory way, the phenomenon of the startle as a limit case for phenomenological analysis. Taking a bearing from a traditional Husserlian schema, the analysis quickly finds itself twisting and turning, contorting the received phenomenological method in order to remain with the phenomenon. Elements of Heidegger’s “fundamental analysis of Dasein” are also tried out, but similarly find themselves dislocated by the peculiar phenomenological content of the startle. Thus unsettling (...) the basic structures of phenomenology and temporality, the paper concludes by setting the scene for an encounter with Levinas’ perturbing notion of the il y a. (shrink)

This book tells a compelling story about love, friendship, and the Divine that took over a thousand years to unfold. It argues that mind and feeling are intrinsically connected in the thought of Plato, Aristotle, and Plotinus; that Aristotle developed his theology and physics primarily from Plato’s Symposium (from the “Greater” and “Lesser Mysteries” of Diotima-Socrates’ speech); and that the Beautiful and the Good are not coincident classes, but irreducible Forms, and the loving ascent of the Symposium must be (...) interpreted in the light of the Republic, as the later tradition up to Ficino saw. Against the view that Platonism is an escape from the ambiguities of ordinary experience or opposed to loving individuals for their own sakes, this book argues that Plato dramatizes the ambiguities of ordinary experience, confronts the possibility of failure, and bequeaths erotic models for the loving of individuals to later thought. Finally, it examines the Platonic-Aristotelian heritage on the Divine to discover whether God can love us back, and situates the dramatic development of this legacy in Plotinus, Iamblichus, Proclus, and Dionysius the Areopagite. (shrink)

While some argue that this German Catholic philosopher and theologian neglected the role of procreation in marriage, this book shows that von Hildebrand's writings on reverence and superabundant finality contribute to a contemporary understanding of the significance of procreation within marriage. Schemenauer analyzes von Hildebrand's integration of conjugal love and procreation, showing him to be an insightful and parallel voice to the that of John Paul II.

In the West, the term ‘tender, loving care’ (TLC) has traditionally been used as a defining term that characterizes nursing. When this expression informs practice, it can comfort the human spirit at times of fear and vulnerability. Such notions offer meaning and resonance to the ‘lived experience’ of giving and receiving care. This suggests that, in a nursing context, TLC is rooted firmly in relationship, that is, the dynamic that exists between carer and cared for. Despite this emphasis on relationship, (...) there is a scarcity of literature that draws a connection between TLC and the moral challenge that is so much a part of human interaction. In this article we will address this deficit and present a narrative that places TLC at the centre of moral engagement between nurse and patient; in essence, we offer an alternative means of viewing relational ethics. (shrink)

The rise of modern science and the proclaimed 'death' of God in the nineteenth century led to a radical questioning of divine action and authorship - Bultmann's celebrated 'demythologizing'. Remythologizing Theology moves in another direction that begins by taking seriously the biblical accounts of God's speaking. It establishes divine communicative action as the formal and material principle of theology, and suggests that interpersonal dialogue, rather than impersonal causality, is the keystone of God's relationship with the world. This original contribution to (...) the theology of divine action and authorship develops a new vision of Christian theism. It also revisits several long-standing controversies such as the relations of God's sovereignty to human freedom, time to eternity, and suffering to love. Groundbreaking and thought-provoking, it brings theology into fruitful dialogue with philosophy, literary theory, and biblical studies"--Provided by publisher. (shrink)

Plato said, He whom love touches not walks in darkness. But trying to understand love has left us in the dark for thousands of years. How does something that touches us all create so much confusion? What Is Love? tells how philosophers (and everyone else) have answered one of lifes most important questions. From ancient battles to pop songs, thinkers have approached love as a problem to solve. Yet love is also an action word that (...) becomes an unstoppable force in peoples lives. Filled with wisdom and storytelling, What Is Love? boldly explores our quest to understand loves purpose and power. (shrink)

In Anti-Oedipus and A Thousand Plateaus, Gilles Deleuze and Félix Guattari emphasise the difficulty of confronting ‘micro-fascisms’. Such fascisms occur at the micropolitical level as they permeate and modulate across social collectivities and networks. Arundhati Roy’s novel, The God of Small Things, reflects upon overt and violent modes of social division and classifications that determine ‘who should be loved and how. And how much’. Such a system ‘restrains or limits the individual’s power’, diminishing the ‘capacity to be affected’, as Deleuze (...) wrote in Spinoza, thereby nourishing and sustaining the fascists inside of them. This article will examine micro-fascisms within Roy’s novel, demonstrating how they function at the individual and interpersonal level. (shrink)

Throughout the Confessions, Augustine repeatedly complains about heresy with a special focus on the heresy he once belonged to, Manicheanism. To those of us who live in a culture in which respectable people rarely, if ever, care about religious orthodoxy to such a degree, these complaints seem rather bizarre. Despite this initial appearance, Augustine presents in the Confessions several plausible reasons for thinking heresy is sinful and, therefore, detrimental to a person’s sanctity and ultimate salvation. In this paper, I argue (...) that Augustine considers heresy sinful because it involves as many as three kinds of idolatry: loving a lie/false conception of God instead of the true God, loving one’s own beliefs more than the Truth, which is God, and loving the worldly praise one receives from developing novel opinions more than God. (shrink)

The Body in Arabic Love Poetry: The ʿUdhri Tradition. By Jokha Alharthi. Edinburgh: Edinburgh University Press, 2021. Pp. xviii + 270. $29.95 (paper).

The _Symposium_ is one of Plato’s most accessible dialogues, an engrossing historical document as well as an entertaining literary masterpiece. By uncovering the structural design of the dialogue, _Plato’s Dialectic at Play _aims at revealing a Plato for whom the dialogical form was not merely ornamentation or philosophical methodology but the essence of philosophical exploration: his dialectic is not only argument, it is also play. Careful analysis of each layer of the text leads cumulatively to a picture of the dialogue’s (...) underlying structure, related to both argument and myth, and shows that a dynamic link exists between Diotima’s higher mysteries and the organization of the dialogue as a whole. On this basis the authors argue that the _Symposium_, with its positive theory of art contained in the ascent to the Beautiful, may be viewed as a companion piece to the Republic, with its negative critique of the role of art in the context of the Good. Following Nietzsche’s suggestion and applying criteria developed by Mikhail Bakhtin, they further argue for seeing the _Symposium_ as the first novel. The book concludes with a comprehensive reevaluation of the significance of the _Symposium_ and its place in Plato’s thought generally, touching on major issues in Platonic scholarship: the nature of art, the body-soul connection, the problem of identity, the relationship between _mythos_ and logos, Platonic love, and the question of authorial writing and the vanishing signature of the absent Plato himself. (shrink)

J. L. Schellenberg’s hiddenness argument for atheism assumes that God’s perpetual openness to a relationship with any finite person is consistent with their perpetual flourishing. However, I argue that if Aquinas-Stump’s account of the nature of love is true, then any finite person flourishes the most only if they attain the greatest degree of union among God and all relevant parties. Moreover, if Humean externalism is true, then any finite person might not have their greatest attainable degree of union (...) among God and all relevant parties, as soon as possible, unless God sacrifices some time in the union—not the whole union—with them. Accordingly, God’s perpetual openness might not be consistent with the future flourishing of any finite person—from which it follows that a crucial assumption of the hiddenness argument might not be true. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 120-124 [Access article in PDF] Pictures & Tears. a History of People Who Have Cried in Front of Paintings, by James Elkins. London: Routledge, 2001, xiii + 272pp., $26. In "Tears, Idle Tears" from The Princess, Alfred, Lord Tennyson wonders at the tears forming in his eyes as he gazes out across the fields one fall day. The idyllic countryside, far from (...) providing solace, triggers within him a debilitating sadness, an all-encompassing melancholia, manifested by the tears originating from a deep despair; the autumn fields remind Tennyson's narrative persona of all the days that have passed by him.If Tennyson's eyes had fallen not on autumn fields but on a painting of them then the opening lines to "Tears, Idle Tears" might have served as the perfect epigraphic frame to James Elkins's important study of the tears we do and do not shed when looking at art.One of several recent books by the increasingly influential professor at Chicago's School of the Art Institute, Pictures & Tears probes that aspect of our consciousness that has the capacity [End Page 120] to move us to tears when looking at paintings.Shedding tears in front of paintings? Within contemporary culture it seems rather unlikely for someone to respond to a painting by fighting off, or giving in, to tears. Reactions to paintings in previous periods and societies were wholly different from ours, Elkins argues. Paintings not only incited the passions but were blamed for the onset of numerous, serious medical conditions. Though rare today, cases continue to be reported. The Italian psychiatrist Graziella Magherini even coined a term for it in 1989, "Stendhal syndrome," referring to the novelist whose viewing of art in Florence was accompanied by the onset of a form of nervous exhaustion.While the subtitle of Elkins's book suggests a history of crying in front of pictures, leading us to the nearly tearless present, and thus, presumably, to answers about why we no longer cry in front of paintings, A History of People Who Have Cried in Front of Paintings is somewhat misleading. In the truest sense Pictures & Tears is neither a history of crying in front of pictures nor individual histories of those who have. The book does not follow a linear historical narrative of the tears that pictures have evoked over the centuries. Rather, Elkins's chapters constitute a tableau, the accumulation of fragments, with alternating chapters exploring, first, a particular work of art and the tears it has evoked and, second, ruminations on why that might be the case.At the heart of Elkins's argument is a concern over why we no longer seem willing, or indeed able, to have emotional responses to paintings. Besides the occasional grand response to works of art, particularly those vested withsignificant religious meaning, few admit to intimate connections with paintings. Elkins wants to know why.To answer these questions, Elkins turned to colleagues as well as to people he had never met. His research for the book included letters to fellow scholars and peers, and open calls in newspapers and journals, requesting stories from anyone moved to tears on encountering a painting. He received more than four hundred responses, many of which are included in a substantial appendix. The responses themselves make for an intriguing read and from them Elkins builds a two-pronged argument: we now live in an age that is marked by "stoic intellectualism" (p. 163), yet we still have the capacity to feel an intimate connection to paintings. Art in recent years has demanded greater intellectual engagement, lessintimate involvement. There may be exhibitions that fuel fear, distrust, anger, or rage but these are alienating to the works themselves, although these feelings can certainly be as intense as the more intimate connection that Elkins equates with falling in love.What is it about viewing paintings, as opposed to film or theater, he asks, which prevents full emotional expression? Is it the accoutrements used to view gallery paintings — the exhibition catalogs... (shrink)

This volume focuses on contemporary issues in the philosophy of religion through an engagement with Eleonore Stump’s seminal work in the field. Topics covered include: the metaphysics of the divine nature ; the nature of love and God’s relation to human happiness; and the issue of human agency.

This article presents a close reading of Kierkegaard’s Works of Love in light of the question whether neighborly aspirations are sensitive to the worth of close personal relationships and to the importance of the material well-being of fellow citizens. The interpretive analysis is set within the larger debate overKierkegaard’s critique of preferential love and his apparently apolitical focus on inward authenticity, and it concludes that neighborly love is far more emotionally vulnerable and sensitive to the particulars of (...) individuals and their social and material standing than isolated passages suggest. Kierkegaard’s work thus contributes to the current preoccupation with the moral relevance of emotions and their place within public life. (shrink)

A number of scholars have claimed that, on the assumption of incompati- bilism, there is a con ict between God's freedom and God's essential moral perfection. Jesse Couenhoven is one such example; Couenhoven, a com- patibilist, thinks that libertarian views of divine freedom are problematic given God's essential moral perfection. He writes, \libertarian accounts of God's freedom quickly run into a conceptual problem: their focus on con- tingent choices undermines their ability to celebrate divine freedom with regard to the essential (...) divine nature. For an Augustinian [i.e., a compat- ibilist], by contrast, God's freedom is not at odds with the necessities of perfect love but ful lled by it."1 Others who argue for similar conclusions include William Rowe and Wes Morriston. Michael Bergmann and Jan Cover have recently argued that divine responsibility and moral perfection are compatible with the absence of divine freedom. In this paper, I argue that the arguments which hold that divine freedom con icts with essen- tial divine moral perfection fail. I develop an account of divine freedom which not only doesn't con ict with God's essential moral goodness but shows that such goodness is a necessary part of perfected freedom. I then show how this understanding of free will takes away a major motivation for Bergmann and Cover's apparent willingness to reject divine freedom. (shrink)

In this essay, I introduce the symposium on Jordan Wessling’s book, Love Divine: A Systematic Account of God’s Love for Humanity, by discussing its origin as a book panel, providing the context for the significance of Wessling’s contribution, and previewing the essays that follow.

In lieu of an abstract, here is a brief excerpt of the content:Why Artists StarveKevin MelchionneAlthough cultural types may fear being branded as philistines for saying so, a remarkable amount of contemporary art is so awful that the very fact and regularity of this awfulness is in want of an explanation. Outside the art world, this observation is jejune. Inside, it makes for immediate disqualification. Is there something about the most common artistic motivations and attitudes that make this awfulness bound (...) to happen yet hard for insiders to sniff out?There are probably many factors in need of elaboration. One reason is widespread self-deception about the motivations for pursuing art. We often hear artists explain their commitment to art by a desire to express themselves or develop their gifts. We hear of a love of beauty or the challenges of craft or the chance for insight into self and world. Frequently, artists describe being called to art, a feeling of being chosen by art rather than choosing it. These are familiar accounts of what makes a life or career in art worth pursuing. But the piety of these high sounding explanations is strikingly incongruent with so much—though by no means all—contemporary art and suggests that, among artists, self-deception about motivations looms large.Franz Kafka's "A Hunger Artist" is a parable of artistic motivation and a case study in the self-deception of the artist. In the brief story, Kafka unwinds an account of artistic motivation that begins with the familiar explanations but gives way eventually to less flattering admissions about artistic ambition. Professional fasting ultimately becomes a path to truth for the hunger artist. But the truth that it yields reduces [End Page 142] art from a source of intrinsic value to a somewhat desperate form of attention seeking. In the figure of the hunger artist, Kafka captures one self-delusion common among artists.IIn "A Hunger Artist," Kafka charts the decline of an accomplished artist.1 Kafka tells us that the artist, a practitioner of what the author describes as a now forgotten genre of performance art known as professional fasting, garners a degree of notoriety for his ability to sustain fasts of death-defying lengths. Half-art, half-sport, Kafka's professional fasting amounts to sitting in a contained but public space such as a cage, where the fast is observable round-the-clock by watchers whose job is to verify its authenticity. The fast is also subject to the attention of paying spectators. Presumably, it is this commercial element as well as the secular hubbub surrounding the fast that most distinguishes it from religious fasting (out of which artistic fasting must have emerged sometime in previous centuries, had Kafka also bothered to concoct a history of the practice). A professional fast typically lasts for periods of up to the biblically resonant forty days, after which the artist is carried from his cage with great fanfare to a modest, performance ending breakfast. Through the practice of fasting, the hunger artist lifts self-denial and by implication, self-control, to the level of virtuosity. The grace of the fast and even a sense of moderate contentment in it are part of what is on display for the audience.Notwithstanding a light routine of bonhomie, Kafka's hunger artist remains distant from his audience. He is neither buoyed by their adoration nor deflated by their vulgarity. Instead, the hunger artist seems entirely sustained by his practice. In his self-possession, we glimpse a familiar ideal of the authentic artist devoted to his practice for the sake of its intrinsic rewards. Indeed, doubts about the authenticity of his performance only fuel the hunger artist's determination. Far from insulted by the zeal of official observers, the hunger artist welcomes their vigilance. In their distrust of the hunger artist, the most severe of watchers convey a respect for the practice of professional fasting. Their desire to scrupulously ratify the authenticity of his effort is also an endorsement of its value. The earnestness of the referees pleases the hunger artist, though we are assured that their presence hardly matters. As in any authentic art, the bystanding critics are hardly necessary to ensure the integrity of the performance... (shrink)

In the current essay, Kevin Burke and Adam Greteman challenge this thing called love by looking at how we might instead “like” in education. Within education, multiculturalism can be viewed as a way of loving, or learning to love, diversity and, as such, learning to love the self; this tendency is notably apparent in the recent rise of concern expressed about student self-esteem. According to the authors, however, critical research on multiculturalism demonstrates how, in loving diversity, (...) multicultural discourses limn the possibilities for subjects to come into being and be liked for their differences. Drawing on James Alison's On Being Liked, Burke and Greteman reframe the problem of relating in education instead through the language of liking. How does the shift from loving to liking — either our students, our teachers, or ourselves — create different social dynamics and ethical paradigms? In engaging this question, Burke and Greteman offer an alternative model of liking that is based on the practice of cruising. (shrink)

This paper aims at a cross-cultural comparison between friendship in Aristotle and friendship in Buddhist traditions. Aristotle’s thorough analysis of friendship results in Buddhist concepts of friendship necessarily a sub-category as Aristotle deems friendship within religious communities to be a niche category of friendship. Although Buddhist notions of love and compassion are universally prescribed, monastic friendship is necessarily highly selective to be between like-minded individuals within a Buddhist community pursuing the shared end of enlightenment. Buddhism however offers three categories (...) of friendship: lay community friendship, monastic friendship and spiritual friendship. Buddhism, therefore, while unavoidably a sub-category of Aristotelian concepts of friendship, reveal nuanced approaches to friendship depending on an individual’s place in the Buddhist tradition. (shrink)

McGovern, Kevin When an unborn child is diagnosed with a life-limiting or life-threatening condition, many people now believe that the best solution is to immediately terminate the pregnancy. This article explores the option of continuing the pregnancy with the support of perinatal palliative care. Many parents have found this alternative fits better with their values, and better honours both their unborn child and their situation as the loving parents of this child. The article also explores the information and support (...) which parents need in order to make a truly informed choice between termination and continuing the pregnancy. (shrink)

McGovern, Kevin This article explores what is said in the fourth chapter of Pope Francis's Evangelii Gaudium about social engagement particularly with the poor. Francis sees practical engagement with the poor as an essential component of the Christian faith. This engagement begins with loving attentiveness to them. It seeks their integral development, and their full inclusion in the life of society. Such social engagement also calls us to care for the environment, to participate in the quest for peace, and (...) to engage in dialogue with all people to seek consensus on ways of building a better world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reduction's FutureTheology, Technology, and the Order of KnowledgeKevin L. HughesLet me begin with something of a confession. When as a young undergraduate I first encountered medieval texts, and so, for the first time, began to know something of the medieval "way of seeing," I was intoxicated. And I was intoxicated, in part, by the comprehensiveness and unity of this worldview, where God, humans, the cosmos, science, theology, philosophy, nature, (...) supernature – all of these elements fit. So often in my thinking I have repaired to those famous last lines of Dante's Comedy, to the "Love which moves the sun and other stars," as the epitome of the comprehension, coherence, and harmony of the medieval worldview.Perhaps this is one of the reasons I have been attracted to the work of St. Bonaventure. We may all be familiar with the statements that now have become almost truisms, that to know Bonaventure at all, one needs to know the whole system, and that the whole system is found in every kind of work that he had done. "Procession, exemplarity, return, this is the whole of our metaphysics."1 This principle of Order in Bonaventure, as described and analyzed by Wayne Hellmann, is a kind of keystone to all of Bonaventure's work.2 [End Page 227]If you understand the "order," you understand Bonaventure. Such admirable consistency and harmony! Such remarkable unity of perspective! And, at least by many accounts, the Reduction of the Arts to Theology3 is a perfect concise instance of Bonaventure's synthetic vision.It is precisely this unity, as found in the Reduction of the Arts to Theology, that Dieter Hattrup finds problematic. For Hattrup, the notion of unity itself is not problematic; rather, it is the unity of knowledge as conveyed in the Reduction that approaches a deeply problematic modern understanding of knowledge. Hattrup believes he has discovered in this brief treatise the seeds of what we might call a technological or manipulative knowledge. Whatever the limits of Dieter Hattrup's historical and textual brief against the authenticity of the Reduction, his theological queries should put us all on guard if we are to imagine a future for any "reduction of the arts to theology," Bonaventurean or otherwise.A Theological QuestionBonaventura zwischen Mystik und Mystifikation4 begins with a basic theological premise: Christian theology is interested in the relationship between faith and reason, and this interest follows from the even more basic Christian claim that God is distinct from the world. If one has an intra-cosmic notion of the divine, wherein gods are the greatest or most powerful beings among all other beings, then the question between faith and reason does not arise. Gods who are beings can be known in the way we know all other beings, i.e., through reason. Faith, on the other hand, describes the kind of knowledge we can have of the One who is not part but [End Page 228] Maker of the created order. From the time of Philo on, Jewish and Christian believers5 have drawn this careful distinction and explored how faith and reason might be related without being reduced one into the other. Hattrup suggests that this perpetual question is raised with particular intensity with the revival of Aristotelian philosophy in the High Middle Ages, and Bonaventure stands as a major figure in scholastic inquiry. But, he tells us, this question remains crucial to our own time under the sign of "secularization."6It is important to note this opening overture, as it tells us that Hattrup is exploring what he takes to be first and foremost a theological puzzle: Does the Reduction of the Arts to Theology faithfully represent Bonaventure's understanding of the relationship between faith and reason as ways of knowing? Is it consistent with what we find (and what Hattrup has studied elsewhere)7 in his Sentence Commentary, Disputed Questions on the Knowledge of Christ, and the Collations on the Hexaëmeron? Most importantly, and more theologically, does the Reduction distinguish properly between faith and reason, as would befit this Doctor of the Church? Or is it the beginning of the collapse of this classic distinction... (shrink)

Although Augustine, Anselm, and Aquinas are often cited in support of “faith and reason,” the doublet achieved prominence in that form only in the nineteenth century. The encyclical Fides et ratio can be seen as forming Aeterni patris, Humani generis, and Dei verbum into a tradition. Indeed, it looks back to the nineteenth century and remains at best uninterested in twentieth-century thought. One difficulty with the expression is that each of “faith” and “reason” can be defined against “experience,” and there (...) is a danger that the doublet “faith and reason” invites abstraction from all contexts, including exegesis and love, imagination, and sacrament. Properly understood, “faith and reason” implies “faith and reason and . . .” The encyclical is unclear at crucial moments. It begins to speak of reason, then slides into talk of rationalism. It regards a crisis of rationalism as leading to nihilism, but the conclusion is hastily drawn, at best. It underlines the importance of metaphysics and is critical of “the end of metaphysics,” but confuses different senses of the word. (shrink)

Han Solo‐orphan, laconically cool Corellian smuggler, Rebel general, and martyr for the Resistance, is one of the most‐loved characters in the Star Wars universe. His emotional and moral development throughout the original trilogy into a trusted friend, Leia's lover, and a warrior for Rebel values is inspiring. In the sequel trilogy, he's returned to smuggling and reluctantly re‐assumes the mantle of father to Ben Solo, an alienated and ultimately patricidal son, but even death fails to stop him from offering fatherly (...) advice to bring Kylo Ren back to the light side. In a universe of tyrants, freedom‐fighters, Force‐sensitives, Jedi, and Sith, everybody seems to be peddling a philosophy. But Han Solo is a scoundrel, a skeptic, and a Corellian who seems to want to evade a philosophical life. Skepticism, anti‐authoritarianism, and a desire to demystify–to strip away pretensions to reveal the true, but often ugly face of reality. (shrink)

Peter Abelard is one of the greatest philosophers of the medieval period. Although best known for his views about universals and his dramatic love affair with Heloise, he made a number of important contributions in metaphysics, logic, philosophy of language, mind and cognition, philosophical theology, ethics, and literature. The essays in this volume survey the entire range of Abelard's thought, and examine his overall achievement in its intellectual and historical context. They also trace Abelard's influence on later thought and (...) his relevance to philosophical debates today. (shrink)

Plato's Bedroom is a book for people who want to be better at falling in love and being in love, with all the ecstasies and dangers erotic life can bring. It is also an inviting book for readers who are intellectually playful and up for a challenge, written with verve, and full of stories thoughtful persons will find to be mirrors of their own erotic selves. Drawing on Greek myth, Plato, Shakespeare, and a wide range of modern literature (...) and movies, the book gets Aphrodite talking with the young lovers in A Midsummer Night's Dream, and lets us listen in on Woody Allen arguing with Othello. The author's account of how we seek, fear, avoid, and sometimes destroy love, is astonishingly fresh and engaging. Throughout its pages, one hears the voice of an engaging teacher and the conversation of a wise friend. In short, this is a work of practical philosophy, not scholarship, though only a scholar could have written it. It invites readers into a deep appreciation of timeless ancient wisdom through reflecting on their own powers for love and their susceptibility to desire. A distinctive feature of the book is the interweaving of two guiding threads in Plato's conception of erotic experience: androgyny, that is, the integration of masculine and feminine; and creativity, in both a sexual and a spiritual sense. These two aspects of Plato's erotic vision, androgyny and creativity, lead readers to a sense of grateful wonder and sacred awe at our own erotic powers. Our natural experience of romantic love, articulated so well by Plato, points toward a more explicitly religious interpretation of love's commitments and pleasures. (shrink)

This book begins and ends with a defense of an interesting and provocative thesis. Right actions, choices, intentions, and the virtues which dispose one to right actions are neither necessary nor sufficient conditions for being a good person. As Keenan defines it "goodness is the measure of persons, their habits of conduct, and their acts as proceeding from one who strives openly out of love to realize right living" ; and "rightness is the measure of acts and the proximate (...) sources of acts, that is, choices, intentions, and virtues, according to their fittingness to reason". Since an agent's failure to conform to rational standards of conduct does not mean that the agent is not striving to do so, rightness is not a necessary condition for goodness. Since an agent's actually conforming to rational standards does not mean that the agent is striving out of love to become more rightly ordered, rightness is not a sufficient condition for goodness. (shrink)

Red Rising and Philosophy has gathered together a crew of the wisest Helldivers philosophy can offer. Could humanity's love of physical enhancements cause its extinction? Do people doom humanity by trying to all be the same? Can a person love someone, while at the same time wanting that person destroyed? Is equality always the best principle on which to organize society? What is evil, and how does it exist in contemporary life? Does one remain the same person, even (...) after changing every physical aspect of one's body?Is it moral to sell oneself into slavery, whether it's through sex or manual labor? Is it ethical to sell one's children into slavery, on the promise that their children will live in peace and tranquility? These questions and more are what make Brown'sRed Rising trilogy such an impactful story. Brown pulls no punches, and philosophy works best in such an environment.Red Rising and Philosophy is not for the timid or the faint at heart. It's notThe Passage, since no one will die from reading it, but reading it could be a life-changing experience. (shrink)

This third brand-new 'Star Wars & Philosophy' title once again takes a fresh look at the franchise with all-new chapters. The focus of this volume is the more recent entries into the franchise, including hit TV shows such as THe Mandalorian. Modern applied philosophy is also used to analyse the Star Wars universe: In addition to thorny metaphysical questions about the nature of time and free will, this volume highlights the staggering cultural impact of George Lucas's universe. The newest Star (...) Wars narratives tackle ethnicity on alien worlds and how love and sex with a droid like L3-37 would work ("It works"). The connections between the Separatist Freedom Movement and the struggle for social justice in the USA in the 21st century are brought to light. And philosophical second looks at Rian Johnson's The Last Jedi prove there is much more to this controversial entry in the Skywalker saga. (shrink)

Enquanto estudiosos debatem os termos “espiritualizado/a” e “religioso/a”, surgem no cenário pessoas que prontamente se auto-identificam como sendo “espiritualizadas mas não religiosos/as” (SNR) ou “religiosas mas não espiritualizadas” (RNS) ou ainda como sendo, simultaneamente, “espiritualizadas e religiosas” (BSR), ou então, “nem espiritualizadas nem religiosas (NONE). Este estudo investigou como estas categorias auto identificatórias relacionam-se à essência e estilo das orações das pessoas e outras características com base em crenças religiosas. Participantes ( N = 103) responderam a uma pesquisa via internet. (...) RNS e SNR não apresentaram respondentes suficientes para uma análise. Não houve distinção entre os BSR e SNR em relação à essência de suas orações e percepções de Deus como amor ou controle. Igualmente, os dois grupos valorizaram suas posições de fé para se auto-identificarem. BSR relataram maior proximidade de Deus. Os respondentes das categorias BSR e SNR foram significativamente diferentes em muitas características relacionadas aos estilos (por exemplo, frequência aos cultos; frequência e duração da oração; idade da primeira oração). Estes dois grupos foram semelhantes em suas preferências pela prática da oração a sós. Tais resultados sugerem que as diferenças que designam as categorias “espiritualizado/a” e/ou “religioso/a” podem ter mais a ver com o estilo do que a essência do sistema de fé abraçado. Key words : Religioso/a. Espiritualizado/a. Oração. Essência. Estilo.While scholars debate the terms “spiritual” and “religious,” people readily self-identify as “spiritual not religious (SNR),” “religious not spiritual (RNS),” “both spiritual and religious (BSR),” or “neither spiritual nor religious (NONE).” This study investigated how these self labels related to the substance and style of people’s prayers and other faith-based features. Respondents ( N = 103) completed an internet survey. RNS and NSR did not have enough respondents for analysis. BSR and SNR groups were indistinguishable with regard to the substance of their prayers and perceptions of God as loving or controlling. Likewise the two groups equally valued their faith positions as important for self-identity. BSR reported greater nearness to God. BSR and SNR respondents were significantly different on many style related characteristics (e.g., attendance at formal services; frequency and duration of prayer; age at first prayer). They were similar in their preferences for praying alone. These results suggest that the differences between claiming the designation of “religious” and / or “spiritual” may have more to do with the style than the substance of the faith system embraced. Palavras-chave: Religious. Spiritual. Prayer. Substance. Style. (shrink)

This chapter provides an introduction to The Ultimate South Park and Philosophy. South Park is one of the most important series on TV, because the show isn't afraid to lampoon the extremist fanatics that are associated with any social, ethical, economical, or religious position. This is extremely important and necessary in our diverse society of free and autonomous persons who hold a plurality of beliefs and values. Fanatics usually stop thinking issues through and, ultimately, they're primed to cause harm to (...) others through their actions. Religious fanatics get hit pretty hard by the creators of South Park and rightly so. Philosophy deals with the love and pursuit of wisdom, and this quest makes us ask what kinds of things really exist, what we're justified in believing, what we ought to do, and how we ought to be living, among other things. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Political Theology of Climate Change by Michael S. Northcott, and: Restored to Earth: Christianity, Environmental Ethics, and Ecological Restoration by Gretel Van WierenKevin J. O’BrienA Political Theology of Climate Change Michael S. Northcott grand rapids, mi: eerdmans, 2013. 335 pp. $30.00Restored to Earth: Christianity, Environmental Ethics, and Ecological Restoration Gretel Van Wieren washington, dc: georgetown university press, 2013. 208 pp. $29.95These two excellent books, A Political Theology (...) of Climate Change by Michael S. Northcott and Restored to Earth by Gretel Van Wieren, offer distinct directions for Christian environmental ethics: Northcott develops a rigorous analysis of climate change as a failure of enlightenment rationality and politics, while Van Wieren argues that those who care about the earth can connect with it through the practice of ecological restoration. Northcott theologically defines a complex global problem; Van Wieren theologically engages a community-based solution. Each book advances Christian environmental ethics in important ways; considered together, they have much to teach about the content and methods of the field.Northcott’s A Political Theology of Climate Change argues that climate change is a “cosmopolitical crisis” and that Christians should embrace a more ecological and theological politics in response. Theologians and ethicists have long argued that environmental degradation has cosmological roots: The belief that human beings are separate from nature makes global-scale degradation and pollution acceptable. Northcott adds a nuanced political analysis, noting that modern politics is based on a denial “that the weather is political, or that politics influences the climate” (46). Enlightenment thinkers who laid the groundwork for contemporary political structures insisted that storms and floods were not divine responses to human behavior, so modern nation-states are premised on an ideological separation from nature. Climate change reveals the failure of such thinking, so the facts of climate change pose an inherently political challenge.Thus, failures to act on climate change are political failures. Mainstream politics cannot consider that economic growth is unsustainable because it is premised on ignorance about nature. Nations cannot collaborate to solve the problem because they have no common moral agreement “about the ends and goals of human life” (245). Any response to climate change that simply extends [End Page 198] the enlightenment project—by ascribing “rights” to the natural world, or by trusting existing secular political structures—is doomed to failure. Instead, climate change calls for a different cosmology and a different politics.Northcott argues that both can be found in the Christian tradition. Natural law thinking respects the relationship between human beings and external moral standards “set into the structure of the cosmos,” demanding careful accounting for the atmospheric consequences of human action (246). Virtue ethics teaches the ideal of politics as a “community of friendship and love,” nurturing practices of participation in the good life, lived with less consumption and less destructive energy (200).Northcott hopes that small-scale communities inspired by Christian cosmology and Christian politics will transition away from destructive practices and thereby demonstrate a new way of life to the world. His book concludes by reasserting that because climate change is a political problem, it is fundamentally a theological problem, calling human communities to “re-create the historic and customary connections between nature and culture, land and life, love for neighbour and nature which are central to the Jewish and Christian messianism of empire-challenging love” (316).In contrast to Northcott’s focus on political and philosophical failures, Gretel Van Wieren’s Restored to Earth seeks a “more positive, solution-oriented” approach to Christian ethics (viii). The book is about reconnecting humans with the natural world through ecological restoration, “the science and art of repairing ecosystems that have been damaged by human activities” (2), and it argues that restoration models moral life by creating physical, intellectual, emotional, communal, and spiritual connections with the natural world.Van Wieren begins with an interdisciplinary definition of ecological restoration and argues that views on the practice depend upon varied definitions of nature. She then moves to a nuanced account of restoration ecology as a spiritual practice (chapter 3) of community formation (chapter 4). Evocatively recounting a controlled prairie burn in Illinois on Maundy Thursday, Van Wieren... (shrink)

"Nothing Better Than Death" is a comprehensive analysis of the near-death experiences profiled on my website at www.near-death.com. This book provides complete NDE testimonials, summaries of various NDEs, NDE research conclusions, a question and answer section, an analysis of NDEs and Christian doctrines, famous quotations about life and death, a NDE bibliography, book notes, a list of NDE resources on the Internet, and a list of NDE support groups associated with IANDS.org - the International Association for Near-Death Studies. -/- The (...) unusual title of this book, "Nothing Better Than Death," was inspired by NDE experiencer Dr. Dianne Morrissey who once said, "If I lived a billion years more, in my body or yours, there's not a single experience on Earth that could ever be as good as being dead. Nothing." -/- Having read every NDE book I could get my hands on, I didn't want to create just another NDE book. My motivation was to give readers a large variety of information about NDEs challenging both the seasoned NDE enthusiast as well as the novice. This book gives readers the means to understand the NDE phenomenon from the perspective of a large number of some of the most profound NDEs ever documented. My hope is that you will enjoy this book, my labor of love, and that you will be truly blessed by the heavenly insights within it. (shrink)