Through analysis of film sequences focusing on DNA in two British Broadcasting Corporation nonfiction science television programs, Wonders of Life and Bang! Goes the Theory, first broadcast in 2013, contrasting “religious” and “secular” representations of science are identified. In the “religious” portrayal, immutable scientific knowledge is revealed to humanity by nature with minimal human intervention. Science provides a creation story, “explanatory omnicompetence,” and makes life existentially meaningful. In the “secular” portrayal, scientific knowledge is changeable; is produced through technical skill in (...) expert communities; and is ambiguous, potentially positive and negative for society. Television representations of science affect audience understandings, and this is particularly the case for nonfiction representations of science, as they are likely to be “taken more seriously” than fictional representations. The consequences of the “religious” representation of science are discussed, and it is argued that a widespread understanding of science as presented in the religious portrayal would negatively impact democracy. (shrink)

In Canto XVIII of Paradiso, Dante sees thirty-five letters of Scripture - LOVE JUSTICE, YOU WHO RULE THE EARTH - 'painted' one after the other in the sky. It is an epiphany that encapsulates the Paradiso, staging its ultimate goal - the divine vision. This book offers a fresh, intensive reading of this extraordinary passage at the heart of the third canticle of the Divine Comedy. While adapting in novel ways the methods of the traditional lectura Dantis, William Franke meditates (...) independently on the philosophical, theological, political, ethical, and aesthetic ideas that Dante's text so provocatively projects into a multiplicity of disciplinary contexts. This book demands that we question not only what Dante may have meant by his representations, but also what they mean for us today in the broad horizon of our intellectual traditions and cultural heritage. (shrink)

The purpose of this text is to analyze the social representations of feminism in divinatory practices. Our research in a few Moldavian counties has identified two main types of social representations of the relationship between magic/divination and feminism. Therefore, there are some dual representations of the feminine divinatory agents versus the masculine ones. Even though women are well represented among clairvoyants, clients, and spectators, these valorizations function as negative stereotypes and do not serve the women. Another representation of feminism (...) in divinatory practices that does not necessarily imply negativism and damnation is a more recent one. Old stereotypes are tamed and attenuated. The results of our research have shown that women continue to be associated with the survival of these practices. This is proof that old myths and representations are still alive. They are discretely present in social expressions. Finally, they will dominate us completely. (shrink)

Artificial intelligence and robots may progressively take a more and more prominent place in our daily environment. Interestingly, in the study of how humans perceive these artificial entities, science has mainly taken an anthropocentric perspective (i.e., how distant from humans are these agents). Considering people’s fears and expectations from robots and artificial intelligence, they tend to be simultaneously afraid and allured to them, much as they would be to the conceptualisations related to the divine entities (e.g., gods). In two experiments, (...) we investigated the proximity of representation between artificial entities (i.e., artificial intelligence and robots), divine entities and natural entities (i.e., humans and other animals) at both an explicit (Study 1) and an implicit level (Study 2). In the first study, participants evaluated these entities explicitly on positive and negative attitudes. Hierarchical clustering analysis showed that participants’ representation of artificial intelligence, robots and divine entities were similar, while the representation of humans tended to be associated with that of animals. In the second study, participants carried out a word/non-word decision task including religious semantic-related words and neutral words after the presentation of a masked prime referring to divine entities, artificial entities and natural entities (or a control prime). Results showed that after divine and artificial entity primes, participants were faster to identify religious words as words compared to neutral words arguing for a semantic activation. We conclude that people make sense of the new entities by relying on already familiar entities and in the case of artificial intelligence and robots, people appear to draw parallels to divine entities. (shrink)

This article argues that Clauberg defends the theory of concurrentism concerning the relationship between divine and secondary causality. It does so by examining Clauberg's theory of corporeal causation in light of his doctrines of cause in general and of corporeal substance. Clauberg's work represents one of the first attempts to reconcile Cartesian physics with the traditional doctrine in theology, according to which both God and created substances are true and immediate causes of all natural effects, in opposition to the occasionalist (...) trend which would soon develop in the Cartesian school as well as to the conservationist alternative of Durand de Saint-Pourçain. -/- Cet article soutient que Clauberg défend la théorie du concurrentisme sur la relation entre la causalité divine et la causalité seconde. Il le fait en examinant la théorie de la causalité corporelle de Clauberg à la lumière de ses doctrines de la cause en général et de la substance corporelle. L'œuvre de Clauberg représente l’une des premières tentatives de réconcilier la physique cartésienne avec la doctrine théologique traditionelle, selon laquelle Dieu et les substances créées sont des causes vrais et immédiates de tout effet naturel, en opposition au courant occasionnaliste qui se développera bientôt dans l'école cartésienne ainsi qu'à l'alternative conservationniste de Durand de Saint-Pourçain. (shrink)

Name der Zeitschrift: Millennium Jahrgang: 11 Heft: 1 Seiten: 69-100.

Paradiso 2’s sustained direct address warns readers unprepared for its complexities to “turn back to see your shores again…for perhaps losing me, you would be lost,” but then offers the “other few” who crave “the bread of angels” the promise of a marvel that would rival the deeds of the mythological hero Jason. I will argue that, by appearing to impose this choice on its readers, this direct address in fact activates the craving for the bread of angels (for who, (...) by obeying the interpretive imperative to make such a decision, would not also be one who thereby does choose to pursue the bread that is promised in return for this obedience?). In other words, the very act of interpreting the representation of readers as divided into those who are capable of allegorical interpretation and those who are not constructs and activates the will of a single readership for the Divine Comedy and, consequently, challenges us to provide an articulation of what it means even to read or to misread the Divine Comedy. (shrink)

Christians hold that God is transcendent, that He is other than all else that exists. For example, Paul Tillich claims, The divine beings and the Supreme Being, God, are representations of that which is ultimately referred to in the religious act. They are representations, for the unconditioned transcendent surpasses every possible conception of a being, including even the conception of a Supreme Being … It is the religious function of atheism ever to remind us that the religious act has to (...) do with the unconditioned transcendent, and that the representations of the Unconditioned are not objects concerning whose existence … a discussion would be possible. (shrink)

A philosophically and historically influential section of the Critique of Judgement presents an ‘intuitive intellect’ as a mind whose representation is limited to what actually exists, and does not extend to mere possibilities. Kant’s paradigmatic instance of such an intellect is however also the divine mind. This combination threatens to rule out the reality of the mere possibilities presupposed by Kant’s theory of human freedom. Through an analysis of the relevant issues in metaphysical cosmology, modal metaphysics and philosophical theology, (...) I show that Kant in fact possesses the resources to reconcile the philosophical claims of §76 of the Critique of Judgement with his keystone commitment to the reality of human freedom. (shrink)

Abstract:This article enquires into a transcultural aesthetic: bi-xing (inspired metaphor) in China and symbolic representation in the West, which share the common logic of correlative thinking. By examining its earliest provenance in the Zhouyi (Book of Changes) and Shijing(Book of Songs) in China's high antiquity in relation to divination, symbolization, and poetic creation in the West, it argues that this aesthetic arose from omen readings in divination, went through symbolism in linguistic representation, and became a poetic principle in (...) aesthetic thought. It concludes that correlative thinking was an approach to knowledge production and conception in traditional thought across cultures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to gods. In ancient (...) Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)

This essay discusses five main topoi in the Divine Comedy through which teachers might encourage students to explore the question of the Divine Comedy’s treatment of philosophy. These topoi are: (1) The Divine Comedy’s representations in Inferno of noble pagans who are allegorically or historically associated with philosophy or natural reason; (2) its treatment of the relationship between faith and reason and that relationship’s consequences for the text’s understanding of the respective authoritativeness of theology and philosophy; (3) representations in the (...) Divine Comedy that relate to the question of the practical value of philosophical (not to mention theological) speculation; (4) the text’s treatment of the respective merits of practical and contemplative activities; and (5) its implicit defense of philosophy’s authority with respect to ethical and political questions. (shrink)

In this article I reply to Jon Robson's objections to my argument that God does not contain any possible worlds. I had argued that ugly possible worlds clearly compromise God's beauty. Robson argues that I failed to show that possible worlds can be subject to aesthetic evaluation, and that even if they were it could be the case that ugliness might contribute to God's overall beauty. In reply I try to show that possible worlds are aesthetically evaluable by arguing that (...) possible worlds are maximally rich representations of possible events. I further argue that nothing in God's being can be aesthetically non-evaluable since God must be maximal beauty – a beauteous maximality which needs no ugliness. Finally I show in what sense Christ's heavenly scars can be beautiful. (shrink)

representations, for the unconditioned transcendent surpasses every possible conception of a being, including even the conception of a Supreme Being... It is the religious function of atheism ever to remind us that the religious act has to do with the unconditioned transcendent, and that the representations of the Unconditioned are not objects concerning whose existence.., a discussion would be possible. The word >God= involves a double meaning: it connotes the unconditioned transcendent, the ultimate, and also an object somehow endowed with (...) qualities and actions. The first is not figurative or symbolic, but is rather in the strictest sense what it is said to be. The second, however, is really symbolic, figurative. = Tillich=s view on transcendence is a quite radical view. However, his view serves to illustrate two things: (i) the importance of the concept of transcendence in discussions about God, and (ii) the implications for religious language resulting from God.. (shrink)

Anderson and Welty have recently advanced an argument for the claim that the laws of logic are ontologically dependent upon a necessarily existent mind, i.e. God. In this paper I argue that a key premise of Anderson and Welty’s argument—viz., a premise which asserts that \(x\) is intrinsically intentional only if \(x\) is mind-dependent—is false, for on a broadly Fregean account of propositions, propositions are intrinsically intentional but not mind-dependent.

Can the conception of God in Hegel’s philosophy of religion provide a resource for current philosophical theology? The argument in William Desmond’sHegel’s God: A Counterfeit Double? entails a strongly negative response. Desmond argues that the basic commitments of Hegel’s speculative philosophyentail a systematic inability adequately to conceive of divine transcendence. In this article, I address this claim by examining Hegel’s conception of God inrelation to the issues of (i) the religious representation and the philosophical concept, (ii) the nature of (...) speculative thinking and the conception of God, (iii) the idea of creation, and (iv) affirming the truth about divine transcendence. In each case I argue that Desmond’s critique is unwarranted. A more appropriate attitude towards Hegel on the question of God combines critique with an effort at discovering and appropriating philosophical principles that are productive for current philosophical theology. (shrink)

Even a quick look at the history of religions leaves one impressed with how often the animal has been taken as a manifestation of the sacred. Another feature, frequently found, is the emphasis on the transcendence of the divine. Its radical alterity is such that we cannot directly encounter it. What is the alterity, the transcendence that conjoins these features? In this article, I argue that this alterity is that of the unconscious. Two types of impulses spring from it: impulses (...) that we symbolically project as the Eros rooted in our animal, embodied existence and impulses that we project as springing from the divine. The only way that we can form a stable representation of ourselves is through the intertwining of both of them. Such an intertwining can be accounted for by means of Merleau-Ponty’s model of reversibility and mutual disclosure. (shrink)

Saloustius would approve of summaries such as this. While his Neoplatonic handbook, the Περὶ θε[unrepresentable symbol]ν καὶ κόσμου, is often ignored as a laughably lightweight guide to philosophy, this article aims to show that Saloustius is a champion of communication. It argues that the practical tenets of Neoplatonism, in themselves first-class tickets to communication with the gods, are proffered in a manner that exemplifies the virtue of communication with men. The article analyses three subject-areas of the treatise. Section I discusses (...) the author's insistence on the impassability of divine nature, and how he explains this within a sympathetic, communicative cosmos. Section II assesses the role of Saloustius' daemons in relation to men and the gods. Not only were they essential intermediaries between humans and the divine, but they partly defined what it meant to be a human individual; following an Iamblichean paradox, daemons are presented both as connective and as individuating cosmic powers. Section III investigates Saloustius' discussion of myth, the longest and most original section of the treatise. It is argued that while some philosophers rejected myths as obscene distortions, and others embraced as allegorical representations of the truth, Saloustius combined these two ideas : the veiling of the truth was itself a revelation, this paradox being the ultimate representation of divinity. Allegory was not merely a means of interpretation, but was the very nature of revelation, and this applied not just to myth but to all existence. While this article aims to counterbalance the greater interest shown by scholars in Saloustius' historical identity than in his philosophy, it also offers an Appendix which re-evaluates all the available evidence on this matter and outlines the relevant arguments to date. It is hoped that this assessment will prove the likely identity of the elusive Saloustius. (shrink)

Le christianisme affirme la transcendance radicale de Dieu tout en se structurant autour de représentations symboliques (les confessions de foi), historiques (la révélation comme récit inscrit dans un texte) et institutionnelles (les Églises). Une tension entre la représentation et l’au-delà de la représentation accompagne toute l’histoire de la théologie. De manière analogue, l’expérience mystique (évoquée ici à travers les écrits de Thérèse d’Avila, Jean de la Croix et Henri Le Saux-Abhishiktananda), avec sa tendance subjective et intérieure, pose la question du (...) rapport à la doctrine commune et à la médiation christique. L’enjeu est alors de tenir l’historicité et ses médiations pour éviter toute fuite hors du créé, tout en maintenant le caractère analogique des représentations et des concepts, sous peine de réduire le divin à ce par quoi on tente de le désigner : le signifié doit toujours l’emporter sur les figures qui l’attestent. (shrink)

This special issue of ‘Sophia’ aims to reflect upon future evolutions of religions and their related narratives and imaginaries from a critical and generative understanding of our ancient sources. Bodies are locations of creative power and symbolic proliferation. Cyborgian, transhuman, and posthuman embodiments are going to generate visions of the divine in tune with such an epistemic shift, by addressing questions such as: can God be represented as a cyborg? Could robots and avatars be prophets? Is internet a suitable setting (...) for a posthuman theophany? This special issue articulates within the frame of a relational ontological perspective, according to which the notion of the divine evolves, as much as human and non-human persons do. In this evolutionary scenario, the representation of the divine realm may shift from era to era, adapting to new natural-cultural formations. This special issue argues that the posthuman paradigm shift will be followed by a symbolic turn in religious imaginaries as well. (shrink)

" Dieu est le souverain de l'univers parce qu'il est son créateur et il gouverne le monde terrestre par l'intermédiaire de ses prophètes dont le meilleur Mahomet ". Cet article de foi universellement reconnu en islam se prête à bien des interprétations. Ainsi, selon l'islam chiite, cette souveraineté divine est relayée sur la terre par les prophètes, mais aussi par les douze imams qui possèdent l'exclusivité de l'autorité politique et spirituelle après la mort de Mahomet. L'ayatollah Khomeiny, fondateur de la (...) République islamique d'Iran, a prétendu fonder le pouvoir absolu du " savant en religion " sur le fait que ce savant serait le représentant des imams. Mais n'y aurait-il pas, en islam, une autre conception politique du gouvernement, une autre façon de fonder son pouvoir? Le théoricien chiite Mullâ Sadrâ (1571-1641), dont l'oeuvre est ici étudié dans son développement conceptuel, propose en effet une alternative à l'interprétation dominante. Chez cet auteur, Dieu est toute chose, est présent en toute chose et son " trône " réside, non pas au-dessus de l'univers, mais dans le coeur du vrai fidèle, du savant éclairé. La religion devient un exercice spirituel d'intériorisation des sens cachés du Coran et un ensemble de savoirs qui visent à produire une liberté intérieure semblable à celle que connaît Dieu. Une quête impérieuse de la vie bienheureuse, antidote à tous les dogmatismes religieux. (shrink)

Partie de l’homme et de sa poièsis pour en nier les limites et se représenter un produire supérieur, la création digne du Dieu créateur du ciel et de la terre, la philosophie occidentale a fini par l’appliquer à l’homme-artiste : partie d’une conception trop anthropomorphique de la production divine, elle a fini par promouvoir une conception théomorphique de la création humaine. On érige en méthode un tel théomorphisme afin de voir d’abord comment les diverses conceptions de la création divine éclairent (...) effectivement la création humaine. On explore ensuite la relation de l’œuvre au principe créateur : qu’est et que devient l’œuvre une fois qu’elle est créée? Et que peut nous apprendre sur la création même le destin du créé? (shrink)

Cohen deals with the question of the possibility for art to represent God or the divine in some of his works, throughout all his philosophical production, but obviously above all in his main aesthetic work, sthetik des reinen Gefhls. We can state that in Cohen's works this problem is posed with reference to three different religious fields: Greek polytheism, Jewish monotheism and Christianity. The topic of this essay will be Cohen's thought about the artistic representation of the divine in (...) Christianity or in Christian art through the representation of Jesus. This topic will be examined with reference both to Kants Begrndung der sthetik and to sthetik des reinen Gefhls ; whereas in Kants Begrndung der sthetik Cohen devotes to the representation of Jesus just a short consideration in the historical introduction of the book, in sthetik des reinen Gefhls the representation of Jesus is object of far more attention. Here, Cohen's answer to the question of the possibility to represent the divine through the representation of Jesus is that Jesus' divinity, in the artistic representation of his figure, can only have a metaphorical value, the real meaning of which is that Jesus' story is the ideal story of the human being; in Kants Begrndung der sthetik and in other writings of the 80s, on the contrary, the idea of incarnation and of the divinity of Jesus is object of a different appreciation by Cohen. The comparison between these different stances can be a contribution to the comprehension of the changes in Cohen's view of Christianity through the years. (shrink)

This dissertation investigates how art, truth, and politics are tightly integrated in Raphael's historical narratives in the Stanza d'Eliodoro. ;The first chapter argues for the importance of paying careful attention to pictorial structure--that close analysis of painting can make a strong contribution to the social history of art. The second chapter begins this interpretive path. It first describes the room's decorative ensemble as a whole and how the histories are located within its complex figurative scheme. Then, drawing upon Martin Heidegger's (...) analysis of postmedieval processes of Vorstellung, it defines the pictorial narratives themselves as representations and concludes that as pictorial representations these narratives appear unable to ground the truth of sacred history. ;Chapter 3 focuses on the Expulsion of Heliodorus, a mural replete with self-referential models of both its own mode of authorship and mode of reception. These self-referential cues help define what it means for the Heliodorus to be not only a pictorial representation but more extensively a work of art. It is Raphael's art of representation that shows forth and validates the metaphysical truth of papal history. ;The latter part of Chapter 3 and all of Chapter 4 offer readings of the Heliodorus as well as the three other histories--the Liberation of St. Peter, Mass at Bolsena, and Repulse of Attila--construing them as theologico-political narratives of the divinity of papal power. All four histories express at the level of narrative form the dilemma of the papacy's contemporary political trajectory only for this predicament to find imaginative "resolution" through the movement of the narrative action. This chapter expounds upon the configurations of historical time in the decorative scheme and how this projects the political unconscious of papal desire. Yet the fifth and final chapter concludes that the Eliodoro narratives are not simply collective wishfulfillments but more properly public symbols that rhetorically address a beholder so to persuade him to accept as true the papacy's desired self-image of its own historical mission. Raphael's art of representation was essential towards this end. (shrink)

L’idée d’un « Dieu divin » est opposée à celle d’un « Dieu d’hommes », que celui-ci soit un concept philosophique, comme celui de Causa sui, ou une simple représentation construite à sa mesure par la religiosité ambiante. Pour éviter que le Dieu divin ne soit, lui aussi, une construction qui nous informe plus sur son auteur que sur ce dont il parle, cet article recourt à la phénoménologie de C.-S. Peirce et établit que le Dieu divin est un « (...) premier », c’est-à-dire une pure possibilité et non pas une cause, un fondement, un principe, ou un être, une possibilité, donc, qui s’atteste dans l’épreuve de l’absence en tant que telle. (shrink)

This article discusses Neo-Pagan journeys to archaeological or heritage sites (such as ancient temples and stone circles) associated with pre-Christian religions and deities. It argues that within the rationale of a Neo-Pagan worldview, several common binaries dissolve and reveal themselves as continuities at sacred sites: human body and earth body, the past and the present, inner and outer worlds, self and other, human and deity. In the course of Pagans’ bodily performances at sites, inner and outer landscapes co-create and flow (...) into one another: the lived body becomes a fundamental text and starting point for knowledge. Through somatic modes of attention - by attending to and with their bodies in surroundings that frequently include the embodied presence of others - Neo-pagan pilgrims experience themselves not as isolated subjectivities but as sharing an intersubjective milieu with other pilgrims and with the Earth itself. For women in particular, journeys to sacred sites potentially contribute to a radical re-inscription of the female body by exposing women to alternative representations of the feminine and by providing contexts in which the feminine can be re-imagined, re-experienced and performed differently through symbolic activity and ritual. In Butlerian terms, women potentially perform gender differently at sacred sites. (shrink)

In his lectures, Kant suggested to his students that the freedom of a divine holy will is “easier to comprehend than that of the human will,”(28:609) but this suggestion has remained neglected. After a review of some of Kant’s familiar claims about the will (in general), and about the divine holy will in particular, I consider how these claims give rise to some initial objections to that conception. Then I defend an interpretation of Kant’s conception of the divine will, and (...) of its historical development in relation to Leibniz and Spinoza, that identifies the content, origin, and role of God’s representations in a way that is responsive to some of the historical and contemporary problems. Finally, I trace a few of the implications of this account of the divine will for our understanding Kant’s account of freedom more generally, including human freedom. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning from Art:Cormac McCarthy's Blood Meridian as a Critique of Divine DeterminismDennis Sansom (bio)Art's Critique of PhilosophyWe usually think the critic's role belongs to philosophy. That is, to understand art's essential characteristics and why and how we appreciate art, we need a philosophical explanation. Though our tastes for art are unique and personal, we typically think that to understand art we must first explain it. For example, Plato thought (...) he could explain art as an emotional inspiration for people, at best, or, at worse, a distortion of intelligible truths; therefore, according to Plato, art should be dismissed or censored in a society seeking social justice derived from the idea of justice. Aristotle understood art to be the imitation of nature; as an imitation, it needs clarification according to the purposes of nature, and philosophy clarifies these purposes. In either case, art needs to be critiqued by philosophy. It is customary to hear philosophical critics lecture on art rather than artists lecture on philosophy.But can art critique philosophy? Is it possible for art to provide a scrutiny of philosophy that perhaps a particular philosophy cannot give itself? I think art can provide this critique by using a feature that some philosophers have thought to be art's limitation to clear reasoning—the imagination. Though philosophers like John Dewey recognize the importance and influence of imagination on our moral and aesthetical orientation to the world of experience, typically Thomas Hobbes's view of imagination prevails in the empiricist-leaning philosophers (for instance, David Hume and Bertrand Russell): the imagination is about image recollection and hence necessary for connecting our ideas to empirical experiences. But for this latter approach, the imagination does not inform us about the world; rather it only bridges experience to abstract ideas. What is important, then, is proper understanding. For this approach, the main question is, Can we explain the world based upon our clearest account of the role of understanding? [End Page 1] Whether this account relies upon a psychological model of the brain's workings, a scientific model of successful theory formation, or a logical model reflective of truth relation possibilities, we need philosophy to clarify how we gain knowledge, even in art.Yet, this approach shortchanges analysis. Psychology, empirical science, and logic are not the only ways to analyze an idea. If a philosophy pretends to explain our experience of the world, then the philosophy opens itself to this question: Is the idea worth holding to be true according to our experiences of the world? A philosophical claim may be logically consistent, based upon generalizations of experience, and be coherent with acceptable views of God, the self, or morality, but if we envision the claim lived out within our experience of the world, would we want to accept it? Is it the kind of life we would want? It takes imagination to answer these questions, and the artist through her or his unique technique and representation can test the existential worth of an idea.Hobbes's description of the imagination represents only one way to explain it. Imagination is more than an act of memory and recollection. It is also reconstruction. John Dewey's definition highlights this role: "An imaginative experience is what happens when varied materials of sense quality, emotion, and meaning come together in a union that marks a new birth in the world."1 Imagination is always an interpretation of what the world could look like. It not only mirrors but heightens experience to focus on a certain viewpoint about the possible meaning of life. By doing this, the imagination enables us to explore whether certain ideas are worth keeping. That is, if we could picture living this way, would we want to live it?Because imagination occupies a central role in artistic creativity, art provides a useful means of analyzing philosophical claims about the world. Though a philosopher may be able to present an idea that is logically consistent, clear in its categories of quantity, quality, being, modality, and so on, explicit in all its assumptions, and even "clear and distinct," when the idea is imagined in life situations, it can lose its... (shrink)

This article explores the fundamental Christological principles discussed by Byzantine iconophile writers of the eight and ninth centuries, John of Damascus (675-749), Theodore the Studite (759-826) and Patriarch Nikephoros I of Constantinople (758-828). Within the larger context of theological concerns, the iconophile focus their attention on two key points: (a) the notion of the hypostatic union of human and divine natures in Christ; and (b) the properties of circumscription and uncircumscribability. These Christological aspects play critical part in supporting the main (...) objective of iconophiles, the defense of Chalcedonian formulation, of which the theoretical justification of Christ’s pictorial representation is simply one part, albeit a central one. In support to their theological cause, the iconophiles also make recourse to the distinction between nature and hypostasis and devote an important part of their exposition for the holy images on the dogmatic significance of the Incarnation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Commandment against the Law Writing and Divine Justice in Walter Benjamin’s “Critique of Violence”Tracy McNulty (bio)Pierre Legendre has shown that the Romano-canonical legal traditions that form the foundations of Western jurisprudence “are founded in a discourse which denies the essential quality of the relation of the body to writing” [“Masters of Law” 110]. It emerges historically as a repudiation of Jewish legalism and Talmud law, where the rite (...) of circumcision encodes the subject’s entry into law as an “allegiance to the absolute Writing,” or the “relationship between the human subject and the logical place of the Other” [110–11; see also “les juifs”]. In this shift, one understanding of writing is displaced by another: the material inscription of the letter, as an incommunicable limit or cut, is supplanted by the fantasy of what Legendre calls a “living writing,” a writing “in the heart” that promotes an ideal of perfect communication in which nothing is lost, in which meaning is lodged in an absolute Other who guarantees all knowledge. In his words, “we belong to a culture in which a mystically alienated human body stands in the place of the absolute book. The state has emerged from this structure.... Its basic characteristics can be set out by means of a fundamental Romano-pontifical maxim: the Emperor carries all the archives in his breast (omnia scrinia habet in pectore suo)” [“Masters of Law” 109].The ultimate theological source of this Roman maxim is Paul’s polemic against the Jewish law in the Epistle to the Romans. Paul’s polemic is structured by a distinction between two orders of law: the “law of God” and the “law of sin.” The first is associated with the intelligible “spirit” of the law, which is “written in the heart,” the second with the prescriptive “letter” of the Jewish law, which compromises or corrupts the first by binding it to a particular representation and consigning it to written form. Paul’s solution is to bypass the law, to bypass representation, and perhaps even language itself. The prescriptive “letter” of the Jewish law must be sublated by the law of the spirit, such that “we serve not under the old written code but in the new life of the Spirit” [Romans 7: 6]. Christ, as the living embodiment of the law of God, upholds the spirit of the law by “fulfilling”––and so rendering obsolete–its written form.The doctrine of Christ as the “living law” sustains what Legendre describes as a “banalisation of writing” [“Masters of Law” 111], a disregard for its material inscription that holds the letter to be nothing more than a placeholder, a flawed or incomplete representation of a meaning or truth that is itself beyond words. At the same time, it makes possible the legal and political fantasy of a living writing, located in a single body understood as the site of interpretive authority. The extraction of a meaning or truth from the intractable letter becomes the ultimate aim of the legal order and the most lofty task of its sovereign interpreter, uniquely charged with animating the dead letter. This notion permeates what Peter Goodrich describes as “the most standard protocols of legal reading,” according to [End Page 34] which “it is not the letter but the spirit that determines the meaning of the law”:The text is composed of dead letters (litera mortua); the rule is no more than a “mute judge,” a sleeping form, requiring the interposition, anima legis, of jurist or judge.... [T]he meaning of the law is internal to its living body, viva vox iuris or lex loquens, its image, interpreter, or legislator. In classical terms it is spelled out by reference to something beyond words: “to know the law is not to know the words of the law, but its force and power.” In a renaissance formulation we are similarly told that “no words, forms, niceties, or propriety of language is of any regard in the Civil Law, in comparison to truth, faithfulness and integrity. For verba menti, non verbis servire debet; words, are made as instruments to serve and express the mind, and not to command it.”[229–30]1... (shrink)

A new form of visual representation of divine others is emerging: photography. I examine here a set of photos of deities related to an apparition claim. The goal I pursue is to analyze the self-constitutive features of these pictures – how they produce what they claim to be. I argue that the “presence' of the deities in the photos is achieved through “incarnation practices.' But these pictures are not just a factual representation of alleged mystical events. They constitute (...) an update and a variation on the “Grand Christian Narrative' wherein the factual poses the moral problem of belief. In that sense, divine photography does not modify the epistemology of religious belief. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 25-49 [Access article in PDF] Descartes's Nomic Concurrentism:Finite Causation and Divine Concurrence Andrew Pessin DESCARTES APPEARS TO HOLD the traditional view that God acts in the world via willing. 1 In recent papers on his successor Malebranche, who also holds that view, I have argued that since volitions are paradigm representational states, close attention to the representational content of God's volitions (...) has substantial exegetical rewards. 2 The same, I will argue, is true regarding Descartes. In particular, due to lack of such attention, scholars have largely failed to realize that Descartes retains [End Page 25] a version of the scholastic doctrine that God ordinarily concurs with the causal activities of both mental and material finite substances ("concurrentism"). 3 Since concurrentism implies the true causal powers of those finite substances, in exposing Descartes's adherence to it I aim to open up new ways of thinking about some old problems in Cartesian exegesis.The plan:(I) I will first sketch a partial "worldview," along with evidence that Descartes held something like it, then(II) argue, both on the basis of this worldview and other evidence, that we should interpret Descartes's account of divine and finite causality as a version of concurrentism, then(III) show how interpreting Descartes this way has significant implications for understanding his views on the causal powers of both mental and material finite substances, and finally(IV) contrast my interpretation with two recent relevant ones: Kenneth Clatterbaugh's and Daniel Garber's. 1. A Partial Worldview If Descartes's God acts on the world via willing, we may inquire into the contents of those volitions. I suggest that Descartes's God has, among others, distinguishable volitions with roughly the following contents. 4 These constitute a partial worldview (W), and will be discussed in turn:(V1) At all times beginning with original Creation matter exists everywhere.(V2) There is at original Creation a particular quantity q and particular distribution d of motion.(V3) At all times, the laws of motion apply.(V4) Mind m exists at time t (appropriately substituted).(V5) At all times, the laws of mind-body union apply.Our first task is to accommodate God's role in the Cartesian system as the continuous conserver of the material world. 5 One divine volition which would accomplish that might have the content, not that each individual body persists, but rather, simply, that [End Page 26](V1) at all times beginning with original Creation matter exists everywhere. 6Now (V1) may require us to rethink the way continuous conservation arguments are typically framed. In the texts of La Forge and Malebranche, for example, what God conserves are individual bodies,and Cartesian texts seem sometimes to suggest the same. 7 Such framing might suggest, contra (V1), that God's conservational volitional contents make explicit reference to each individual body. Nevertheless, there are reasons to think that Descartes's God's conserving activity is and ought to be framed as in (V1):(i) God's willing that (V1) provides an easy way to reconcile Cartesian mind —> body causal interaction with continuous conservation. 8 Many think that there is a tension between these two doctrines, since God, in conserving bodies, would seem to be responsible for all their modes including motion, leaving nothing for minds to contribute to them. Now that might be true where God's conserving volition explicitly represents each individual body, particularly given the role that motion plays in distinguishing individual Cartesian bodies. 9 (V1), however, in making no reference to individual bodies, is perfectly consistent with minds affecting either the quantity or distribution of motion in the material world.(ii) Similarly in Physiologia, Des Chene convincingly defends the claim that for Descartes, "since the existence of motion... is not entailed by the existence of matter, the creation of motion [is] independent of the creation of matter" (329). In light, again, of Descartes's conception of individual bodies (n. 9, below), this independence is best modeled by distinguishing God's conserving volition from those volitions... (shrink)

La distinction entre l'essence et les énergies divines a fait l'objet d'une élaboration et d'une précision remarquables dans la théologie de saint Grégoire Palamas et occupe une place considérable dans la théologie et la spiritualité de l'Eglise orthodoxe, tandis que la théologie de l'Eglise latine non seulement est restée étrangère à cette distinction mais s'est généralement montrée critique à son encontre, accusant Palamas d'innovation. Les enjeux de cette distinction sont cependant d'une grande pertinence puisqu'ils concernent notamment les questions de la (...) nature et des limites de la connaissance de Dieu, de la nature de la grâce, et des modalités de l'union de l'homme à Dieu et de sa déification. On peut donc dire que, bien que ce sujet n'y soit guère abordé, l'avenir du dialogue oecuménique en dépend aussi. La question de la représentation chrétienne de la notion d'énergie divine est importante également par rapport à des représentations parachrétiennes ou non chrétiennes de cette notion que l'on a pu observer dans certains courants philosophiques et religieux du Bassin méditerranéen, du Moyen-Orient ou de l'Extrême-Orient, de l'Antiquité et du haut Moyen Age, et qui resurgissent de nos jours dans certains courants spiritualistes qui s'en inspirent. Cette étude a pour but de préciser la place et le sens de la notion d'énergie divine et de ses corrélats dans la théologie des Pères grecs de la période patristique classique, s'étendant des origines à saint Jean Damascène, en n'omettant pas de considérer ses racines scripturaires et ses occurrences philosophiques dans l'Antiquité et durant la même période. (shrink)

Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocative explanation, arguing that some pictures have special kinds of beauty and sublimity that offer aesthetic transcendence. They take us imaginatively beyond our finite limits and even invoke a sense of the divine. Such aesthetic transcendence forges a relationship with the ultimate and completes us psychologically. Philosophers (...) and theologians sometimes account for this as an effect of art, but How Pictures Complete Us distinguishes itself by revealing how this experience is embodied in pictorial structures and styles. Through detailed discussions of artworks from the Renaissance through postmodern times, Paul Crowther reappraises the entire scope of beauty and the sublime in the context of both representational and abstract art, offering unexpected insights into familiar phenomena such as ideal beauty, pictorial perspective, and what pictures are in the first place. (shrink)

Olivier Boulnois argues that a radical shift occurred in metaphysics at the end of the thirteenth century, a shift completed and systematized by Duns Scotus. The shift concerns being, the subject of metaphysics: from God to a universal exhibited by God and creatures alike . This shift went hand in hand with an account of signification as representation: signs, rather than being in some sense identical with the things they signify, merely represent these things. According to Boulnois—and this is (...) where the thesis becomes original—the basic motivation for the shift in opinion on the nature of metaphysics lay in the insight of Roger Bacon that spoken and written signs signify things directly, without the mediation of concepts. This means that there is no place for an analogy of being, since “being” is a sign either of things that fall under one concept or of things that together fall under many different concepts . “Being”—the object of thought—is identified by Scotus as non nihil, whatever is logically possible, and in this sense is univocal to the Aristotelian categories and to God. But identifying being in this way means that metaphysics does not restrict its study to the actually existent. It studies anything that is logically possible. But the logically possible is whatever can be represented: so the representable is in some sense the subject of metaphysics. Concepts are signs of the representable, and thought becomes a sort of semantics, a mental language of representational concepts whose objects are the representable, the logically possible. So ultimately the univocity of being can be traced too to the insights about representation: the status of being as the representable entails the univocity of being. Knowledge of the representable considered independently of actual existence is abstraction; knowledge that attends to the actual existence of the representable is intuition—though in both cases to know something is for a representation of it to inhere in the mind. The ultimately representable object is the divine essence, which somehow contains in itself all other representable objects—it contains “ideas” of everything other than the divine essence. As representable objects, however, these ideas depend for their existence on the divine essence: to this extent, God's mental contents are caused totally by himself. God does not require representations in order to cause; he causes the representable objects and thus causes his representations of them.Clearly, if Boulnois is right, the sorts of innovation usually associated with Wolff can be traced not merely to Suarez but in fact to Scotus and his contemporaries. And the relation with Kant is obvious enough, though the medievals would been unhappy with the Kantian twist—the distinction between the phenomenal and the noumenal.The importance of the book in the history of science is to some extent tangential: in this case, more a matter of circumscribing areas of disciplinary competence and relevance—determining the domain of physics by showing what metaphysics pertains to. And there are some faults: a failure to engage with the latest Scotist scholarship on the question of the relation between the possible and the thinkable and, likewise, a failure to consider with sufficient clarity the extent to which Scotus really agrees that spoken signs signify extramental reality directly. But overall Être et représentation is a significant achievement, essential reading for anyone interested in the history of metaphysics. (shrink)

Platonic religiosity is the first of two volumes devoted to the analysis of religiosity or religious feeling (pathos) in Plato. -/- (Back cover) Platonic Religiosity is a hermeneutical attempt to read Platonic works from the perspective of their religiosity. The aspects examined in the book are limited for the moment to the most basic, perhaps even the simplest, dimensions of religious feeling, those involving the representation of a relationship between man and divinity, Earth and Heaven, "low" and "high". Low (...) and high are spatial metaphors constitutive of our thinking. Although, in this case, they indicate the link between man and the super-sensible world, they also presuppose, at all times, the devout feeling (and the risk) of an insurmountable distance and remoteness that divides men from the numen. The need to affirm the relationship partly overcomes the presence of this feeling of distance, but never manages to neutralise it completely. -/- Religious feeling as such always oscillates between two terms: the need to establish a relationship with the divinity, and thus to guarantee its proximity to man, and the affirmation of its transcendence, namely the distance that divides us from the numen, up to the point, eventually, where the danger becomes the greatest: the denial of the god by man (atheism) or the human feeling of being abandoned by the god. The presence of these oscillations in the Platonic texts is analysed in several chapters of the book, devoted to different themes, such as the representations of reciprocity (do ut des), the images of the friendly god and the hostile god, the feeling of the threshold, prayers and invocations, verecundia and nostalgia, the feeling of dependence, the notion of prescience, assimilation to the god, the different types of ineffability, the role of atheism and incredulity, and lastly the notion of conversion, which substantiates Platonic religiosity by characterising it in the sense of a redemption-belief. (shrink)

Notre article propose d’explorer la réception de Pierre Poiret au sein du piétisme radical en Allemagne. Dans ce milieu spirituel a émergé une traduction allemande de l’Œconomie Divine (1687) (7 vol. 1735-1742). Nous souhaitons donner quelques éclairages sur la réalisation de ce projet, les personnes qui y ont été associées, ainsi que sur la manière dont le texte de Poiret a été transposé en langue allemande. Poiret et ses traducteurs piétistes partagent la conviction que la vérité religieuse n’est accessible que (...) par l’illumination divine. Mais la tension entre l’inspiration divine de la vérité et son agencement systématique et rationnel dans le volumineux traité de Poiret se trouve encore renforcée par les stratégies érudites mises en place par les traducteurs, notamment par Johann Christoph Edelmann qui se muera de piétiste radical en représentant des Lumières radicales. (shrink)

The article intends to investigate the capacity of representation to refer to further meanings in the thought of Bonaventure of Bagnoregio (1217/21-1274), starting from the Dino Formaggio’s conception of the ways of meaning in art: art is communication because it signifies in a plurivocal, plurivalent and uni-situational way. According to Bonaventure, natural and artificial things, as creation of the poietic activity of divine and human artifex, refer to further meanings also by the attitude of the observer that can consider (...) the image as that which refers to a univocal sensible meaning, or as that which refers to an ulteriority, a multiplicity of spiritual senses. The Bonaventure’s idea of the ulteriority of representation arises also in the Franciscan art of the 13th and the 14th century and, with the emergence of the consciousness of the artist during this period, can confirm also from an historical point of view the conception of communication in art proposed by the Italian philosopher Dino Formaggio. (shrink)

This article engaged in a literary analysis of Deepa Mehta’s Heaven on Earth, with a specific focus on the shadow pandemic being domestic violence in the Indian diaspora, and on the film’s representation of the divine feminine in Indian culture. By using the lens of Hindu mythology, the feminine divine was given prominence. The film centres on the Indian diaspora in Canada. The Canadian diaspora was similar to the South African diaspora through its depiction of Indian and African people (...) living together and experiencing a shared knowledge with specific reference to traditional medicine. Through Heaven on Earth, Mehta offered an alternative to hegemonic patriarchal religious depictions and a varied perspective on gender by highlighting the essential role of the divine feminine. The term ‘shadow pandemic’ denoted domestic violence as a ‘pandemic’ that has scourged across the world, exacerbated by the advent of the COVID-19 pandemic. Through an analysis of culture and female divinity, the main female protagonist of the text was able to exit an abusive relationship and enter into her own female power. This feminine agency was an important resource for countless women trapped in abusive relationships. Contribution: The discussion in this article centres on a literary analysis of Deepa Mehta’s Heaven on Earth ( 2008 ) with emphasis on domestic violence and the shadow pandemic with specific emphasis on women of colour in the diaspora. The analysis also makes use of a cultural lens to discuss both the snake and androgyny in diasporic Indian culture providing a counter-stance to patriarchy. This research can be utilised by hermeneutists of suspicion and specialists in the field of public theology. (shrink)

L’article examine la façon dont Hegel traite la représentation des attributs divins, avec référence particulière à deux questions traditionnelles : la question de leur compatibilité réciproque et le problème de l’univocité ou équivocité entre les prédicats humains et divins. Les hypothèses défendues sont les suivantes : la prétention de connaître Dieu en lui attribuant plusieurs prédicats constitue selon Hegel l’erreur fondamentale de la théologie rationnelle ; néanmoins, Hegel ne considère pas tous les attributs divins comme représentations dépourvues de noyau spéculatif (...) et donc simplement destinées à disparaître, avec le passage du niveau de la Représentation au niveau du Concept ; il affirme plutôt la correspondance des prédicats de toute-puissance, bonté, justice et sagesse, avec les déterminations du Concept ; la transposition spéculative de ces attributs divins est une partie intégrante de la « véritable théodicée » de Hegel, car elle représente une réplique – alternative à celle de Leibniz – par rapport à l’anti-théodicée de Pierre Bayle, centrée sur l’affirmation d’une contradiction insoluble entre la bonté, la toute-puissance et la justice divines ; enfin, l’éclaircissement du lien dialectique que Hegel établit entre justice et sagesse divines – à travers leur transposition spéculative – permet de mieux saisir la façon dont il conçoit le rapport entre justice humaine et justice divine, qui est ici examinée à travers une analyse de l’interprétation hégélienne du livre de Job. (shrink)

A dispute about the symbolism of the lingam, a cylindrical votary object that represents the Hindu god Shiva, has been going on for many centuries: is its meaning inexorably tied to a particular part of the physical body of the god, or is it abstract, purely spiritual? This essay will trace the history of this dispute, considering both icons made of carved stone in India that may or may not represent lingams and images made of words in Indian texts that (...) refer to lingams in contexts that are sometimes ambiguous but often quite clear. Underlying this particular debate is the more general problem of the ambiguity of the symbolism, particularly the religious symbolism, of the body and of forms that represent the divine body. The history of interpretations of the lingam in India reveals the ways that the actions of the state-in this case, the presence of foreign powers, Muslim and British, who viewed the lingam negatively-have deeply influenced native Hindu perceptions of the body of their own god. (shrink)

A dispute about the symbolism of the lingam, a cylindrical votary object that represents the Hindu god Shiva, has been going on for many centuries: is its meaning inexorably tied to a particular part of the physical body of the god, or is it abstract, purely spiritual? This essay will trace the history of this dispute, considering both icons made of carved stone in India that may or may not represent lingams and images made of words in Indian texts that (...) refer to lingams in contexts that are sometimes ambiguous but often quite clear. Underlying this particular debate is the more general problem of the ambiguity of the symbolism, particularly the religious symbolism, of the body and of forms that represent the divine body. The history of interpretations of the lingam in India reveals the ways that the actions of the state-in this case, the presence of foreign powers, Muslim and British, who viewed the lingam negatively-have deeply influenced native Hindu perceptions of the body of their own god. (shrink)

Pointe extrême de la métaphore, l'oxymore postule, dans le théâtre claudélien, une altérité essentielle entre l'Amant et l'Amante, entre Dieu et sa créature, altérité que ne contredirait pas cependant l'identité existentielle: l'Incarnation. Prouhèze déploie sous nos yeux la bannière divine dont le signe est, comme dans les versets de Raymond Lulle, “un homme mort”. Si la corde de l'amour est tissée à coups de languissements de soupirs et de pleurs par le poète-dramaturge, la Croix est symétriquement désignée dans ses drames (...) comme l'Arbre de Vie.Un personnage aussi étrange — car bien peu théâtral — que l'Ombre Double duSoulier de Satin résume ce paradoxe dans la mesure où la représentation qu'elle offre de la tension amoureuse crée un lien insécable entre la Terre et l'Ailleurs; l'Ombre Double témoigne de ce que l'Amant et l'Amante comme Dieu et sa créature peuvent concorder dans la béatitude sans pour autant fusionner. Autrement dit, selon Claudel, que l'homme soit à l'image de Dieu ne suffit pas à sa foi, encore faut-il qu'il ne cesse de manifester sa ressemblance à Dieu. Seule, la “métaphore vive”, c'est-à-dire la métaphore ayant gardé en mémoire les paradoxes et les tensions de l'oxymore, respecterait le mystère d'une relation où la présence croît a proportion de l'absence et fonderait cette parole sacrée et compensatoire d'une resseblance mille fois déjouée. (shrink)

This is Warrior Yoga, New York Times bestselling author and retired Navy SEAL Commander Mark Divine's latest contribution to mental and physical achievement exercises started with 8 Weeks to SEALFIT and Unbeatable Mind. This is not your average yoga book. Using Coach Divine's signature integrated training curriculum, Warrior Yoga is an intense physical workout designed for both the nation's elite special ops soldiers, and the regular athlete with the heart and mind of a warrior. His tried and true warrior sequences (...) are designed to be simple and flexible. These short, powerful drills can be done from home or on the road to enhance existing workout regimens and cultivate new ones. The sequences are targeted and focused to adapt to any athlete's physical and mental capabilities including those rehabilitating from injuries and suffering from PTSD. Mark's decades of experience with amateur and professional athletes, active and aspiring Navy SEALS, and wounded warriors uniquely qualify him as an expert motivator and teacher. To be a SEALFITTM Yoga Warrior requires a harmonious balance between mental and physical toughness, strength, and agility. Mark's short digestible exercises will help any athlete hone their fitness routine to reach their fullest potential, combining the physical, emotional and spiritual aspects of an unbeatable mind and body program. (shrink)

The question of whether individuals retain interests or can be harmed after death is highly contentious, particularly within the context of deceased organ retrieval, retention and use. This paper argues that posthumous interests and/or harms can and do exist in the Konkomba traditional setting through the concept of ancestorship, a reputational concept of immense cultural and existential significance in this setting. I adopt Joel Feinberg’s account of harms as a setback to interests. The paper argues that a socio-culturally sensitive regulatory (...) framework does not necessarily exclude the donation of human biomaterials for transplant and science research. Indeed, when customary values are explored with open-mindedness and sensitivity it may be shown that such donation can form part of the important customs of some communities in this jurisdiction. Accordingly, a context-appropriate governance framework could utilise the cultural value of ancestorship as an incentive to encourage organ donation in the Ghanaian traditional setting. (shrink)