Living inside the text : canon and creation -- A strange bridge: connecting the image and the idol -- The liturgy of creation in the cosmic temple -- The image of God on the temple walls -- Turning the imago Dei upside down: idolatry and the prophetic stance -- Inverting the inversion: idols and the perfect image in the New Testament -- The rise of suspicion: the religious criticism of religion -- Significance and security in a new key.

Can a material object refer to the divine without attracting to itself devotion and veneration? And, in particular, can a depiction call to mind a reality that subtracts itself from its materiality? There are thus two problems here: whether the divine (God and what pertains to Him) can be rightly said to be represented by an object and whether, in any case, such an object runs the risk of becoming an idol, a little God, an imitation of God. The paper (...) concentrates on the history of the status of images, depending on religions, and the recurrent idea of taking necessarily away the “others”. People belonging to “other” religions are regarded as guilty, idolater, heretic, far away from the true God and the best practises to adore Him. A central year is the 787 CE, for the Nicea II Council, but also for the reactions about it. With all the Platonic-Augustinian suspicion of fictions, the so-called Libri Carolini apportions to images the sole role of bringing to mind the materiality of what is represented thus denying the power of referring to the supersensible: paradoxically, the more an image is “true” and the greater the similarity between the image and its object, the greater is its freight of falsity, insofar as it increases the deception worked on the spectator. The ideas of the Carolingian court cannot be divorced from an artistic production that tended ever more to disconnect a precise meaning from the images made in stone or with the brush, and in due course increasingly regarded sacred history as a pretext for proposing imagines formosae. (shrink)

Hinduism comprises perhaps the major cluster of religio-cultural traditions of India, and it can play a valuable role in helping us understand the nature of religion and human responses to life. Hindu image-worship lies at the core of what counts for Hinduism - up-front and subject to much curiosity and misunderstanding, yet it is a defining feature of this phenomenon. This book focuses on Hindu images and their worship with special reference to Vaiṣṇavism, a major strand of Hinduism. Concentrating (...) largely, but not exclusively, on Sanskritic source material, the author shows in the course of the book that Hindu image-worship may be understood via three levels of interpretation: the metaphysical/theological, the narratival or mythic, and the performative or ritual. Analysing the chief philosophical paradigm underlying Hindu image-worship and its implications, the book exemplifies its widespread application and tackles, among other topics such as the origins of image-worship in Hinduism, the transition from Vedic to image worship, a distinguishing feature of Hindu images: their multiple heads and limbs. Finally, with a view to laying the grounds for a more positive dialogic relationship between Hinduism and the "Abrahamic" faiths, which tend to condemn Hindu image-worship as "idolatry", the author examines the theological explanation and justification for embodiment of the Deity in Hinduism and discusses how Hinduism might justify itself against such a charge. Rich in Indological detail, and with an impressive grasp of the philosophical and theological issues underlying Hindu material culture, and image-worship, this book will be of interest to academics and others studying theology, Indian philosophy and Hinduism. (shrink)

Das angebliche Bilderverbot, das im Zweiten Gebot des Dekalogs enthalten sein soll, ist eigentlich ein Idolatrieverbot. Das heißt, dass das jüdische Gesetz nicht Bilder an sich, sondern Idole verbietet. Gewiss: Manche Bilder werden als Idole verehrt. Es gibt aber auch Bilder, die keine idolatrische Bedeutung haben, und umgekehrt Idole, die keinen bildlichen Charakter aufweisen. Die Untersuchung dieser komplexen Zusammenhänge ist das Hauptziel des vorliegenden Sammelbandes. Von unterschiedlichen theoretischen Standpunkten ausgehend, eröffnen die hier versammelten Aufsätze neue Perspektiven auf das Verhältnis zwischen (...) Bild und Idol. Mit Beiträgen von Beniamino Fortis, Asher D. Biemann, Ellen Rinner, Mario C. Schmidt, Lars Tittmar, Johannes Bennke und Agata Bielik-Robson. (shrink)

During the era in which the Spanish first encountered public religious practices that they perceived to be idolatrous in the Americas, the study of Hermetic and Platonic texts in Europe was reactivating interest in the power of images and idols, and in the agency of demons. In the Americas, Spanish newcomers encountered idolatry, the cult of deities present to their worshippers in material objects of various kinds, as part of daily religious practice. The resulting battle over idols (...) and the beliefs surrounding them is in one sense only an outcrop of debates over idols and demons in the ancient Mediterranean and in medieval and Renaissance Europe. Yet while ancient beliefs about idols were reiterated in Peru, arguments shifted in this new context. At question is whether these arguments achieved anything beyond imposing European ideas and cognitive models on the Andean world? (shrink)

Japanese pop idols occupy an ambiguous position in the broader popular music landscape, straddling a line between fiction and non-fiction, simultaneously characterological yet physically instantiated. As idealized representations of the girl or boy next door, idols serve as both ‘image characters’ who can be used to sell a variety of products, as well as ‘quasi companions’ meant to provide fans with a manufactured sense of intimacy. Using a joint quantitative and qualitative approach, this article analyses the lyrics of (...) female idol groups. Specifically, I demonstrate how the combination of first- and second-person pronouns and sentence-final expressions are utilized to construct both female-coded and male-coded gendered personae, revealing that idol lyrics engage in the process of cross-gender performance. As a result, through their performance of these personae, female idol groups explicitly reinforce a binary imagination of normative gender expressions, allowing such idol groups to capitalize on idealized heterosexual adolescence through affective resonance and nostalgia. (shrink)

This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

This article suggests that second-wave feminist theology between around 1968 and 1995 undertook the quintessentially religious and task of theology, which is to break its own idols. Idoloclasm was the dynamic of Jewish and Christian feminist theological reformism and the means by which to clear a way back into its own tradition. Idoloclasm brought together an inter-religious coalition of feminists who believed that idolatry is not one of the pitfalls of patriarchy but its symptom and cause, not a subspecies (...) of sin but the primary sin of alienated relationship. The first moment of feminist theology’s criticism of patriarchal power is not that it is socially unjust, but that it has licence to be unjust because it is idolatrous. Yet, neither opponents of feminist theology who dismiss it on the grounds that it is a secular import into the tradition, nor feminist students of theology and religion, have paid sufficient attention to feminist theology’s counter-idolatrous turn as the religious ground of women’s liberation. Here, the freedom and becoming of women is dependent on the liberation of the religious imagination from captivity to a trinity of idols: the patriarchal god called God who is no more than an inference from the political dispensation that created him; the idol of the masculine that created God in his own image and the idol of the feminine worshipped as an ideational object of desire only as the subordinated complement of the masculine and as a false image that becomes a substitute for the real, finite women whose agency and will it supplants. (shrink)

There are striking differences between the scientific theoretical description of the world and the way it seems to us. The consequent task of relating science to ’the world we live in’ has been a problem throughout the history of science. But have we made this an impossibility by how we formulate the problem? Some say that besides the successive world-pictures of science there is the world-picture that preceded all these and continues to exist by their side, elucidated by more humanistic (...) philosophers. Wilfrid Sellars codified this conviction in his dichotomy of scientific image and manifest image. Others say that all our world-pictures are transient, evolve, conflict with and replace each other, undergo violent revolutions as well as periods of normal development, and may be incommensurable, allowing of no meaningful dialogue. All such formulations may themselves be tendentious metaphysics, full of false contrasts. Insistence on a radical separation between science and what we have apart from science, on the impossibility of accommodating science without surrender, may be a way of either idolizing or demonizing science rather than understanding it. (shrink)

Images can be studied in many ways--as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive--they move us to action, calm us, reveal the (...) power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents--human and non-human, material, geographic, and spiritual--become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe"--Provided by publisher. (shrink)

Aborde la question de l'image chrétienne face à la révolution de la modernité, en montrant comment la nature spécifique de l'image conduit à l'exigence d'un discernement en engageant le spectateur à dépasser ses propres limites. Démontre également que le modernisme de la représentation iconographique n'a rien perdu de son actualité.

Humanity’s creative capacity has never been more unsettling than it is at our current moment, when it has ushered us into new technological worlds that challenge the very definition of “the human.” Those anxious to safeguard the human against techno-scientific threats often appeal to religious traditions to protect the place and dignity of the human. But how well do we understand both theological tradition and today’s technological culture? In _The Indiscrete Image, _Thomas A. Carlson challenges our common ideas about both, (...) arguing instead that it may be humanity’s final lack of definition that first enables, and calls for, human creativity and its correlates—including technology, tradition, and their inextricable interplay within religious existence. Framed in response to Martin Heidegger’s influential account of the relation between technological modernity and theological tradition, _The Indiscrete Image_ builds an understanding of creativity as conditioned by insurmountable unknowing and incalculable possibility through alternative readings of Christian theological tradition and technological culture—and the surprising resonance between these two. Carlson concludes that the always ongoing work of world creation, tied essentially to human self-creation, implies neither an idol’s closure nor an icon’s transcendence, but the “indiscrete image” whose love makes possible—by keeping open—both the human and its world. (shrink)

The somewhat disturbing success of bioethics as a discipline is probably due to the unique nature of its subject matter. Indeed what is it that happens when scientific interest, with its particular resources and language, turns toward the study of the human body? Can this body be instrumentalized like any other object, or do the sciences have to give way here before a taboo subject? Have the sciences not, without their knowing it, taken on an unprecedented signification? The truly prodigious (...) growth of new fields of biological knowledge has thrust biology into the public arena. Extending more than ever beyond the status of narrowly scientific knowledge, these new fields have taken on a mythological and normative character in the social imagination. (shrink)

Il y a bien eu, dans le refus d'un culte des images en Europe latine, la construction d'un dogme des images portant prescription de leur usage conforme à leur pouvoir d'évocation du passé (un art de mémoire), aux manipulations de figures dans la machinerie des rêves. La théologie et les philosophies en ont fait l'instrument approché de toute connaissance conçue comme la lecture d'un tableau, possible parce que nous en participons par notre nature. Que signifient les formules de (...) la création : l'homme a été fait comme une image? l'homme a été créé selon le mode des images? Dieu a créé l'homme à son image, ou encore, il l'a fabriqué par une image? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.4 (2006) 561-569 MuseSearchJournalsThis JournalContents[Access article in PDF]Introduction: Thinking about Idols in Early Modern EuropeJonathan Sheehan University of MichiganAbstractThis essay is an introduction to a collection of six articles on early modern debates about idolatry. If the debates started in religion, however, they quickly generated political, philosophical, anthropological, and even scientific corollaries. These may appear to be abstract and theoretical questions, but (...) they produced a complex set of answers with important consequences for many people. To see what was at stake, we need look no further than the New World and its missions. If the most frequently cited texts in the collection of articles are Bartolomé de las Casas and José de Acosta, it is because the New World forced the reality of idolatry onto the wider European stage.When does an image become a god? The early Christian apologist Minucius Felix had an answer. A log "is cut, is hewn, is planed," and is still no god. A stone "is sculptured, and is polished by some abandoned man" and still is no god. A sculpture "is set up, and even yet it is not a god." But, "lo, it is adorned, it is consecrated, it is prayed to—then at length it is a god, when man has chosen it to be so, and for the purpose has dedicated it." 1If only it were that easy. Felix offered just half of the story as David Freedberg has argued. Veneration does not produce that unhealthy power that idols exert over the attentive viewer. Rather, the opposite is true: idols are venerated because they exert this power. All images seem to contain at least traces of it. They draw our eye with ineluctable command, and force themselves on our attention. The image is just a representation, of course. It has been made by humans and can only ever gesture to an absent presence. And yet, images are also effective. Their ability to move us depends on "the possibility of fusion" between image and prototype. The crucifix is always only wood or stone, but its power comes from what might be called, with Freedberg, a "sacred contagion" that penetrates from behind the veil of representation. Indeed, its value as a religious object depends on this [End Page 561] contagion. Worshipers know that those tears shed by the Virgin in anguish at Christ's broken body are, in reality, just paint over mute stone and wood. Nevertheless, they are moved by those specks of material. If not, why have a statue in the first place? "The miraculous object has an effectiveness that proceeds as if the original body were present," Freedberg notes, "but the difficulty lies in cognitively grasping that 'as if.'" 2 Men do not choose to invest images with power over their imaginations and intellects. Even before images are prayed to, before they are consecrated, they already have that power.Whatever one thinks of the phenomenology of images, there is no doubt that this super-human power of idols obsessed many people in the early modern period. An object that had no power to inspire attention and devotion was hardly a threat, after all. The enormous waves of iconoclasm that swept across Europe—Germany in the 1520s, Scotland in the late 1550s, the Netherlands in the 1560s, England in the 1640s—were not directed at decorative tiles, pews, or doorstops. They were directed exactly at those things that made the devout feel the presence of the divine. And no one was quicker to identify these powerful images than the breakers themselves, who, in their extreme acts of rage, confirmed the effects that these supposedly dead bits of wood and stone exerted over them. The man in Ulm in 1534 who defecated into "the mouth of an effigy of Christ" demonstrated his extreme revulsion at what was, in reality, merely a lump of brute material. 3 Perhaps, if asked, he would have insisted that his scatological exuberance was designed to show definitively the impotence of the... (shrink)

Let texted de Nietzsche se caractérise par l'usage de métaphors ed d'images multiples. Nietzshce affirme que nous n'avons accès à rien de plus qu'a des images. Il repense à la fois, de façcon polémique et contre tout dualisme, le statut de l'image, et la «connaissance» dont nous sommes susceptibles. L'image n'est alors que l'autre nom de l'«interprétation», nom qui permet de préciser en quel sens celle-ci doit être entendue. En conséquence, la tâche d'une philosophie neuve ne doid consister (...) qu'a produier de meilleures images, qui permettent de faire advenir un plus haut degré de culture - l'image apparaissant alors comme l'un des pivots essentiels du double versant, généalogique et créateur, de la pensée de Nietzsche.Nietzsche's text is characterized by the constant use of metaphors and images of various sorts; and he contends that we can know nothing more than images. He rethinks both the very concept of "image" in a controversial way and so the "knowledge" we are capable of. "Image" then is nothing but the other demonmination of "interpretation", a denomination which must be read as an enlightenment on how "interpretation" should be understood. Consequently, the task of a new philosophy should consist only in discovering better images, in order to create new values and a higher degree of culture - so that the image can indeed finally be understood as an essential axis of the two sides of Nietzsche's thought.Nietzches Text zeichnet sich durch den Gebrauch von vielfaltigen Bildern und Metaphoren aus, und er behauptet, dass wir nur zu Bildern Zugang haben. Er überdenkt - in oft polemischer und eindimensionaler Weise - den Stellenwert des Bildes und damit auch die "Erkenntnis", zu der wir imstande sind. Das Bild ist somit ein anderer Begriff für "Interpretation"; mit ihm interpertiert Nietzsche, wie "Interpretation" zu verstchen ist. Die Aufgabe einer neuen Philosophie kann so nur darin bestehen, bessere Bilder zu schaffen. Um ein höhere Kulturstufe zu erreichen, erscheint das Bild damit als ein esssentieller Dreh- und Angel-unkt von Nietzches zwischen Genealogie und Genialität angesiedeltem Denken. (shrink)

Laches' first definition is rejected because it is somehow formally inadequate, but it is not clear exactly how this is so. On my interpretation, the failure of this definition cannot be explained by reference to the distinction between universals and particulars. Rather, it provides a paradigm of courage, which is inadequate because it fails to make clear how it is to be projected into other, non-paradigmatic cases. The definition is interesting because it articulates essential elements of the dominant moral tradition, (...) including both its normative content (it is is too conservative and aristocratic) and its form (it is sustained by a certain limited canon of ideals, idols, and images of excellence). Socrates' elenchus of this definition thus amounts to a challenge to this tradition. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

I have stressed here and elsewhere that perspective cannot and need not claim to represent the world "as we see it." The perceptual constancies which make us underrate the degree of objective diminutions with distance, it turns out, constitute only one of the factors refuting this claim. The selectivity of vision can now be seen to be another. There are many ways of "seeing the world," but obviously the claim would have to relate to the "snapshot vision" of the stationary (...) single eye. To ask, as it has so often been asked, whether this eye sees the world in the form of a hollow sphere or of a projection plane makes little sense, for it sees neither. The one point in focus can hardly be said to be either curved or flat, and the remainder of the field of vision is too indistinct to permit a decision. True, we can shift the point of focus at will, but in doing so we lose the previous perception, and all that remains is its memory. Can we, and do we, compare the exact extension of these changing percepts in scanning a row of columns extended at right angles from the central line of vision—to mention the most recalcitrant of the posers of perspectival theory?1 I very much doubt it. The question refers to the convenient choice of projection planes, not to the experience of vision.· 1. I now prefer this formulation to my somewhat laboured discussion in Art and Illusion, chap. 8, sec. 4.E.H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, and Ideals and Idols. An early version of "Standards of Truth" was presented at Swarthmore College in October 1976 at a symposium to mark the retirement of Professor Hans Wallach. His contributions to Critical Inquiry include "The Museum: Past, Present, and Future" , "Notes and Exchanges" , and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence". (shrink)

Marked sharply by its time and place (Paris in the 1970s), this early theological text by Jean-Luc Marion nevertheless maintains a strikingly deep resonance with his most recent, groundbreaking, and ever more widely discussed phenomenology. And while Marion will want to insist on a clear distinction between the theological and phenomenological projects, to read each in light of the other can prove illuminating for both the theological and the philosophical reader - and perhaps above all for the reader who wants (...) to read in both directions at once, the reader concerned with those points of interplay and undecidability where theology and philosophy inform, provoke, and challenge one another in endlessly complex ways." "In both his theological and his phenomenological projects Marion's central effort to free the absolute or unconditional (be it theology's God or phenomenology's phenomenon) from the various limits and preconditions of human thought and language will imply a thoroughgoing critique of all metaphysics, and above all of the modern metaphysics centered on the active, spontaneous subject who occupies modern philosophy from Descartes through Hegel and Nietzsche. (shrink)

Dietrich von Hildebrand provides a uniquely in-depth and astute analysis of the many ways we substitute false idols (the "graven images") for true Christian morality. This is not a simple book on the differences between good and evil; most people do not replace true morality with pure evil, but with some other "extramoral" good, like "respectability" or "honor." Hildebrand guides us through these false alternatives, helping to show both what is good in them, but also where they fall (...) short of the uniqueness of true Christian morality. ______ "When this book first appeared in 1957, it was a whirlwind of fresh air in the field of moral theology and philosophy. The novelty was first of all methodological: the attempt to go back to things themselves and to start an investigation that makes a direct appeal to the lived experience of the inquirer. The task of the philosopher is not that of reading books, combining them in different ways, and then producing a new book. The primary textbook of philosophy is human experience itself and the reader (or, rather, the listener) is called to make an active comparison between what is presented to him and what he experiences in his own life. Philosophy in this sense is not so much a doctrine as an activity: the textbook is human life itself. " -- Rocco Buttiglione. (shrink)

Postmodern view of Australian multiculturalism. Discusses the ways in which identity and imagery merge and interact in a multicultural society, within a postmodern theoretical framework, and examines topics such as liberalism and multiculturalism, and cultural postmodernity. Includes chapter notes, a bibliography and an index. Clark is director of the Institute of Ethics and Public Policy at Monash University, Forbes is professor of geography at Flinders University of South Australia, and Francis is a postgraduate student at Monash University. The contributors include (...) sociologists, literary theorists, geographers and a philosopher. (shrink)

This essay probes the aniconic and iconic elements that pervade Indian visual culture and, more specifically, the aniconic impulse that has structured, for nearly two millennia, the cultivated indifference of Indian, especially Sanskrit, reflective traditions toward the plastic arts. Over the last hundred years, inquiries have concentrated largely on the historical and formal aspects of Indian temples, idols, and images. These attempts, however, are based entirely on the conceptual-theoretical frameworks of the Western tradition. By drawing on Sanskrit reflective (...) traditions, I analyze the relations between symbol, icon, desire, and the body, in order to show the epistemic contrasts between the European and the Indian reflective traditions and their implications for differential modes of being. (shrink)

It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...) my book on Art and Illusion without ever having read it. The followers of this school of criticism—of which Professor Krieger is a prominent member—had apparently convinced themselves that the book lent support to an aesthetics in which the notions of reality and of nature had no place. They thought that I had subverted the old idea of mimesis and that all that remained were different systems of conventional signs which were made to stand for an unknowable reality. True, professor Krieger admits that I never endorsed such an interpretation of my views, and he even concedes that there are passages in Art and Illusion which contradict such an out-and-out relativism, but he wants to convince his readers that these contradictions lead precisely to the ambiguities he now proposes to analyse.If he were right that the book encourages such a misreading, all I could do would be to express my regrets for having failed to make myself sufficiently clear. Luckily I can draw comfort from the fact that unlike these literary critics, the leading archaeologist of this country, Professor Stuart Piggott, had no difficulty at all in discerning my meaning and profiting from my arguments. In his Walter Neurath Memorial Lecture of 1978, entitled Antiquity Depicted: Aspects of Archaeological Illustration, the author did me the honour of taking a statement from my book as his starting point. It is the passage at the end of part I in which I recapitulate the content of the first two chapters:What matters to us is that the correct portrait, like the useful map, is an end product on a long road through schema and correction. It is not a faithful record of a visual experience but the faithful construction of a relational mode.Neither the subjectivity of vision nor the sway of conventions need lead us to deny that such a model can be constructed to any required degree of accuracy. What is decisive here is clearly the word “required.” The form of a representation cannot be divorced from its purpose and the requirements of the society in which the given visual language gains currency.1 1. E. H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, A. W. Mellon Lectures in the Fine Arts, 1956 , p. 90. E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His many influential works include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, The Sense of Order, Ideals and Idols, The Image and the Eye, and, most recently, Tributes. His previous contributions to Critical Inquiry include “The Museum: Past, Present and Future and “Standards of Truth: The Arrested Image and the Moving Eye”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Technology and Our Relationship with GodAnselm Ramelow O.P.God's Original Plan and the FallTechnology may appear to be a very secular thing, but to assume that technology can be understood without God would be a mistake. Technology is deeply involved in our relationship with God. This involvement is, moreover, profoundly ambivalent.1To begin with the positive side of this ambivalence: the growing awareness of the dangers of technology should not lead (...) Christians to think that technology is necessarily a bad thing. It is, in fact, not even merely a "necessary evil." Rather, we can find in the use of technology an unfolding of our God-given rational nature. If we believe that God "made us in his image and likeness," then this quite directly implies two things: (1) God is a maker (he made us), and (2) since he made us in his image and likeness, we are makers as well. The making of technology thus reflects our dignity as made in the image and likeness of God.2 Accordingly, the Church has been more positive towards the development of technology than one might expect, and some of our technologies (e.g., agricultural, architectural, and time-keeping technologies) have their roots in medieval monasteries.3 [End Page 159]We should therefore expect that Adam and Eve, had they not fallen, nevertheless would have become makers of technology in some form or other. They would have exhibited inventiveness and tool use, though perhaps not a tool use focused on warding off evil (which did not exist in Eden), but concerned with promoting positive forms life, such as tools of art and communication. Art and communication technologies are, like all tools, means to an end; but these in particular contain their ends in themselves. In Aristotelian terms, their making (poiesis) concerns a praxis (such as "making conversation"). That is why we sometimes forget to list such technologies among our typical examples of technologies. We forget, for example, that, among the technologies of communication, language as a physical tool (sounds or written marks) is an obvious example. And it is a prelapsarian feature: the book of Genesis has Adam naming things before the Fall. In doing so, Adam echoes God's own creative "technique" of speaking or calling things into being.4 Even in its oral form, language is a matter of human making and a technology of communication. In paradise, communication would not have been merely instrumental, not merely a means, but an intrinsic good, embodying knowledge and intersubjective communion.Other forms of prelapsarian technology, however, are a matter of speculation. And whether or not one agrees with Jacques Ellul's thesis that there was no such prelapsarian technology,5 the ambivalence of technology is clear from the very beginning as well. This is at least what we see in the book of Genesis. For, as a matter of biblical record, it was Cain and his descendants who founded cities and developed technology (e.g., Tubal-Cain as the "forger of all instruments of bronze and iron" in Gen 4:22). And the history [End Page 160] of these urban civilizations does not display the best part of human behavior. But if, as we have said, technology is not necessarily a bad thing, then this must be a corruption of technology. What might this corruption consist in?I want to suggest that it consists precisely in the corruption of our relationship with God, from which technology can never abstract and in which it is, for better or for worse, embedded. Unsurprisingly, therefore, as technology progresses, this relationship becomes more and more explicit, and it does so in a paradoxical way: initially, it is an attempt to put humanity in charge and control, to replace our need for reliance on God by allowing us to play God ourselves. But in our current situation, particularly with the emergence of artificial intelligence (AI) and machine learning, the roles appear reversed: rather than putting humanity in charge, technology in turn is increasingly in control—to the point of becoming itself a god or idol that rules human life. As a result, we only end up having replaced one God with another... (shrink)

Patricia Cook: A great many Hegel commentators have marveled at, and offered their interpretations of, the gallery of fascinating vignettes, metaphors, ironic illusions, and poetic or rhetorical images contained in Hegel’s Phenomenology. Donald Verene proposes to treat this “gallery of pictures” exclusively and in detail. His project is to understand the separation between imaginative thought and the evolution of the Concept - between das Bild and der Begriff - in the Phenomenology.

The article attempts to reveal the mutual relations between: the figure of the Greek god Dionysus, inseparable companion of the philosopher throughout his work, and, in contrast, the somewhat mysterious figure of the overman, who burst like a meteor in the first pages of the book “Thus Spoke Zarathustra”. Genetically linked not only to Greek mythology but also to Schopenhauer’s will, Nietzsche’s Dionysus already in “The Birth of Tragedy” appears on the other side of good and evil and sanctions the (...) supremacy of aesthetic values over moral values; in the middle stage of Nietzsche's work Dionysianism leads the philosopher to the idea of the eternal recurrence; finally, in the third stage Dionysus is drawn into a war with Christianity and is polemically sharpened in the formula “Dionysus Versus the Crucified”. At different stages of Nietzsche’s work almost all of his major philosophical ideas – except one – either derived directly from Dionysianism or were aligned with it. The image of the overman at the moment of its appearance was so out of the general picture of the philosopher's doctrine, that in the course of time he had to “correct” it. The overman loses his most outstanding, but, as it turned out, superfluous features in “Twilight of Idols”, “The Anti-Christian”, and “Ecce Homo”. Having lost interest in the idea of the overman, Nietzsche tries in his last works to structure and complete his philosophical doctrine, returning to Dionysus. By analysing his later works, the author hopes to draw the attention of researchers to these attempts of the philosopher. (shrink)

Assembled here for the first time in English translation, Sigrid Weigel and Georgina Paul offer illuminating new insights into Benjamin's theory, combining impulses from post-structuralism, feminism, cultural anthropology and psychoanalysis.

The focus of this essay is to display and to work within the congruent levels of discourse at play in Nietzsche's text, with particular reference to the trope ''woman." Derrida's treatment of Nietzsche produced in Eperons: Les Styles de Nietzsche provides the medium, the universe of discourse if you will, for reading Nietzsche's deployment of "woman" in his writings. Derrida is a prop that sets up the discourse in the following fashion: Nietzsche's metaphor of the vita femina is comprehended in (...) light of and integrated with Derrida's conception o/la femme-verite . The desire of this reading is to question the following: the ideal or idol of feminism and antifeminism, i.e., the image, the figure of woman as such, woman engenderedthrough the idiom of what should be the case or the condition of woman as a human being; and the presumptuous attitude of the feminist and/or anti-feminist, scholar or priest, that a particular discourse, her/his discourse, is of any interest or pertinence to women or woman. (shrink)

The focus of this essay is to display and to work within the congruent levels of discourse at play in Nietzsche's text, with particular reference to the trope ''woman." Derrida's treatment of Nietzsche produced in Eperons: Les Styles de Nietzsche provides the medium, the universe of discourse if you will, for reading Nietzsche's deployment of "woman" in his writings. Derrida is a prop that sets up the discourse in the following fashion: Nietzsche's metaphor of the vita femina is comprehended in (...) light of and integrated with Derrida's conception o/la femme-verite. The desire of this reading is to question the following: the ideal or idol of feminism and antifeminism, i.e., the image, the figure of woman as such, woman engenderedthrough the idiom of what should be the case or the condition of woman as a human being; and the presumptuous attitude of the feminist and/or anti-feminist, scholar or priest, that a particular discourse, her/his discourse, is of any interest or pertinence to women or woman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 239-240 [Access article in PDF] News and Views Korean Temple Burnings and Vandalism: The Response of the Society for Buddhist-Christian Studies Harry L. WellsHumboldt State UniversityOver the course of the last decade a fairly large number of Buddhist temples in South Korea have been destroyed or damaged by fire by misguided Christian fundamentalists. More recently, Buddhist statues have been identified as idols, and attacked (...) and decapitated in the name of Jesus. Arrests are hard to effect, as the arsonists and vandals work by stealth of night. In 1998, the Society for Buddhist-Christian Studies announced its support for our Buddhist brothers and sisters and our disgust at such violent misuse of the name of Jesus. At the 1998 Board meeting, an ad hoc committee was set up to explore and develop strategies which would further address the situation. Below are some actions which have occurred during 1999. A Letter from Our President: The following letter of protest was sent on the Society's behalf on January 25, 1999 to the Prime Minister of the Republic of Korea and other governmental officials plus Korean church leaders and organizations. A second letter was sent to the U.S. State Department and the headquarters of various church bodies in the U.S. as well as the National Council of Churches. The Society for Buddhist-Christian Studies wishes to register its deepest sadness and most profound protest regarding the numerous acts of arson and malicious destruction done to Buddhist temples by misinformed and intolerant fundamentalist Christian groups throughout the Republic of South Korea. Professor Frank Tedesco of Sejong University first drew the attention of the Society to these incidents in an article he published in 1997 in Buddhist-Christian Studies, the journal of the Society for Buddhist-Christian Studies. More recently, two more Buddhist temples have been burned by fundamentalist Christians, seven hundred Buddhist images have been decapitated, and the Roman Catholic Cathedral was also burned because it contained images. All members of the Society for Buddhist-Christian Studies, both Christian and Buddhist, are embarrassed that such acts have been done in the name of [End Page 239] Jesus Christ, a name that demands that all persons should live in justice and peace, not sectarian stupidity and religious fanaticism. The small, but vocal, number of fundamentalist Christians in Korea who defend such actions as blows against pagan idolatry are simply wrong. Their actions are contrary to the core of Christian teaching and practice, which is that all persons are to be treated with love, justice, and respect. There is no excuse for intra-religious violence in Buddhist or Christian teaching and practice. Accordingly, the Society for Buddhist-Christian Studies not only deplores fundamentalist Christian attacks against Korean Buddhist temples, images, and persons, we ask that the government of Korea actively seek out all groups and persons engaged in violent actions against our Buddhist brothers and sisters and bring them to justice according to the laws of the Republic of Korea. May the peace at the heart of the Christian tradition and the heart of the Buddha's Dharma heal the minds of the violent so that all human beings may one day live as brothers and sisters in accord and dialogue. Paul O. Ingram, President A Section on the International Association for Religious Freedom Website Robert Traer, General Secretary of the International Association for Religious Freedom, graciously agreed to allow the Society to post a section on their website about the Buddhist-Christian tensions in Korea. His hope reflects the hope of our Society, that incidents of vandalism will cease and dialogue efforts increase. This page presently includes the summary account written by a SBCS member, Dr. Frank Tedesco, photos, and an introductory statement by our Society. Visit the site! A Call for Monetary Contributions The Society initiated a contributions drive to collect funds to send to Korea as a symbolic gesture of support of our Buddhist brothers and sisters whose temples and images have been attacked by extremist Christian vandals... (shrink)

The juxtaposition of models of God and Christian faith may seem repugnant to many, as models are tentative and faith aims at an abiding certainty. In fact, for many Christians, using models of God in worship amounts to idolatry. By examining Biblical and extra-Biblical views of idolatry, I argue that models are not idols. To the contrary, the practice of God-modeling inoculates Christians against one of the most seductive idols of our age: the love of certainty. Furthermore, by (...) examining meditations upon certainty in Melville’s Moby Dick and the early discourses of the Buddha, I suggest that overweening conviction is a vice that hinders rather than guarantees Christian discipleship, and that Christian faith is better defined as any or all of the following: relative confidence in propositions, faithful relationship, and a virtue of disciplined credulity. (shrink)

Presents the latest research on how reasoning with analogies, metaphors, metonymies, and images can facilitate mathematical understanding. For math education, educational psychology, and cognitive science scholars.

Abstract In this essay, I will argue that images can play a substantial role in argumentation: exploiting information from the context, they can contribute directly and substantially to the communication of the propositions that play the roles of premises and conclusion. Furthermore, they can achieve this directly, i.e. without the need of verbalization. I will ground this claim by presenting and analyzing some arguments where images are essential to the argumentation process. Content Type Journal Article Pages 1-14 DOI (...) 10.1007/s10503-011-9259-y Authors Axel Arturo Barceló Aspeitia, Instituto de Investigaciones Filosóficas, Universidad Nacional Autónoma de México, Cto. Mario de la Cueva s/n, Cd. Universitaria, Coyoacán, 04500 DF, Mexico Journal Argumentation Online ISSN 1572-8374 Print ISSN 0920-427X. (shrink)

In "Cultural Variation and Cultural Creation in Chinese Biographical Writing and Carnegie's Work" Weidong Zhou discusses the impact on Chinese biographical writing via biographies written in Chinese and translated from English about Andrew Carnegie's life and work. The interpretation of Carnegie's philanthropy includes Chinese traditional cultural concepts such as "righteousness," "cause and effect," and "self-cultivation" which constitute the unique understanding of "philanthropy" in modern Chinese literature. From a "moral model" to "successful person" the overall images following Carnegie can reflect (...) the processes of acceptance of Western "individualism." Zhu argues that Carnegie's example was shaped as a "Youth Idol" in the May Fourth Movement from which the unique route of modernization in Chinese literature and culture can be traced. (shrink)

At least since Locke, philosophers and psychologists have usually held that concepts arise out of sensory perceptions, thoughts are built from concepts, and language enables speakers to convey their thoughts to hearers. Christopher Gauker holds that this tradition is mistaken about both concepts and language. The mind cannot abstract the building blocks of thoughts from perceptual representations. More generally, we have no account of the origin of concepts that grants them the requisite independence from language. Gauker's alternative is to show (...) that much of cognition consists in thinking by means of mental imagery, without the help of concepts, and that language is a tool by which interlocutors coordinate their actions in pursuit of shared goals. Imagistic cognition supports the acquisition and use of this tool, and when the use of this tool is internalized, it becomes the very medium of conceptual thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SCANDAL AND IMITATION IN MATTHEW, KIERKEGAARD, AND GIRARD David McCracken University ofWashington Charlie Chaplin once entered a Charlie Chaplin look-alike contest, but his resemblance was insufficient for the first- or secondplace prize. He finished third, and thus created a small scandal: the judges—experts on Charlie Chaplin—proved to be so inept that they could not recognize the genuine article1. The simple, mimetic entertainment of a look-alike contest can become more (...) interesting when marked by a spirit of ironic play, which we may plausibly attribute to Charlie Chaplin, and it certainly becomes more interesting when marked by the scandal of inept authorities. Scandals have a way of attracting attention: we take notice, and often pleasure, when experts are shown to be fools. If, on the other hand, we are the experts, then we are likely to take offense and become embarrassed or uncomfortable, defensive or aggressive, humiliated or angry. Either way, we may be scandalized—at the actions of others or at the treatment of ourselves. The Chaplin story suggests three observations about scandal and imitation, which must be understood together because they are necessarily related, one requiring the other. First, models (in this case, Chaplin as the object ofimitation) may be transformed into idols, something fantastic or untrue that we are led to admire, desire, or worship. The movie idol Chaplin was sufficiently far removed from the actual human, Charlie Chaplin, that Charlie Chaplin finished the contest in third place. In the 1 The story, perhaps apocryphal, has been around for some years and reappeared recently in Barash (87), but it is not recorded in Chaplin's autobiography. David McCracken147 Hebrew Bible, idolatry is more extreme: the golden calf is an attractive idol because it can be seen, a fantastic improvement (it would seem) over an invisible God whose mediator has decamped. Instead of worshipping God, the Israelites worship their own desires, which are literally "dungballs " in Ezekiel's graphic vocabulary. Whether the movement is from an invisible God named YHWH toward a golden calf or dung-ball, or from a movie star, who is usually seen as a large image on a silver screen, toward the movie-goer's fond, mental reconstruction ofhim, the process of idolatry leads humans to mistake the false for the real. Second, imitation has different forms: in a look-alike contest, imitation will depend to some extent on the happenstance of physical similarity—the size and face should resemble Chaplin's—but it will also depend on clothing and movement. The entrant Chaplin must have had a significant advantage in size and face, but this advantage was obviously not decisive. Since he failed to win, we begin to wonder: Did he wear the right clothes and hat? Did he, consummate actor that he was, move like Charlie Chaplin or rather more like Buster Keaton? Did he, for the sake of his little scandal, fail to appropriate himself, so to speak; did he misrepresent himself in order not to win? Looking alike is one thing, but appropriating and representing are quite another. Finally, imitation often involves rivalry, which leads to scandal: the Chaplin look-alike contest is a competition, a form ofrivalry that involves winners and losers—that is the point of the contest. By entering the contest, Chaplin made himself an unfair obstacle to the other contestants. But ifhe tried to lose, by not acting like Chaplin, he became an obstacle to thejudges, misleading them into the ludicrous conclusion that someone other-than-Chaplin looked more like Chaplin than Chaplin. The potential scandal is inextricably related to judgment and rivalry, however lighthearted it may be in this case. Like our ordinary contests, New Testament imitation raises the specter of competition: the Pharisee gives thanks that he is not like the poor man (he wins the competition for righteousness hands down, he thinks, and he is fundamentally persuaded that there is a competition); the disciples want to know who among them—the competitors—gets to sit on the right hand; and Peter maintains that, while other disciples may be scandalized, he will not be (he wins, they lose). All ofthese miss the point decisively: New Testament imitation requires the renunciation ofrivalry. The... (shrink)