An interactive collaborative drawing ‘machine’ designed on the concept of a neural network, allowing participants to experience a shared creative process, using the principles of open-source and social networked communication through an analogue string system. The underlying concept of the String Neural Network is to introduce participants to the idea of collaborative-shared drawing practice, as a dispersed collective that alludes to Roland Barthes The Death of the Author (1967) whereby each participant plays an equal role as both viewer and artist. (...) Played out like a surrealist Exquisite Corpse game of consequences or as a piece of Haiku poetry, the drawing participants contribute marks, signs and signifiers to an open-content drawing, akin to the development of open-source software. The string network consists of five drawing table ‘nodes’ within a room/studio space measuring eight by eight metres square. Each node is linked to the other four via pulleys and washing lines, making it possible to peg a sheet of A4 paper to a line and winch it across to any one of the other nodes. The network system uses ten string connections between the five drawing tables, creating a pentagram within a pentagon neural network design. Representing the interconnected synapses and neurons of the brain, the role of each participant is that of cause and effect. A single instruction initiates a series of consequences that unfold in drawings, marks and patterns that are created whilst being hoisted simultaneously across the room in quick succession. The Neural String Network project was first set up in March 2012 to coincide with ‘DecodeRecode’, a telematic art project undertaken by students at MediaCityUK Salford University, as part of the centenary celebration of Alan Turing. Each participating student was given a single word drawn from the Turing theme, such as machine, brain, code and apple that were interpreted and communicated as a drawing by a collective consciousness. (shrink)

Interactive media arts offer us new approaches to the role of theatrical representation. Nowadays, digital technology allows us to explore self-representation in systems that cross over between installation art, theatre and performance. By confronting the subject with his or her own image, these devices question the mechanisms of identification and denegation. Both the theatrical creations and the interactive forms that are examined here invite the spectator to explore the relationship between identification and denegation. All the artistic productions that are (...) studied in this article call for a virtual double that the immersant meets: Liquid Views (1992) and Rigid Waves ([1993] 2008) by Monika Fleischmann and Wolfgang Strauss, Telematic Dreaming ([1992] 2007) by Paul Sermon and Eux (2008) by the Crew company and Sensorama (2009) by the Andwhatbeside(s)death company. In all of these artworks, the participant is encouraged to give less importance to his or her cognitive senses in order to allow his or her sensations to create a representation of himself or herself. The overlap between identity and otherness is therefore to be found at the very heart of the sensitive body. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it (...) realizes another work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Sexual violence against women is an issue of urgency that arises in all cultures locally, nationally, globally and transnationally. This problem has broad dimensions in both the public and private domains, both cases that are reported or not reported to law enforcement. Factually, the trend of this problem has been identified as increasing every year in Maluku, Indonesia. Therefore, the church requires serious attention to prevention and systematic treatment to overcome it. This sensitivity and awareness are a manifestation of the (...) church’s sense of calling and responsibility for the restoration of human dignity. The pastoral sermon service model is the church’s strategic approach to handling this problem. This research aimed to develop a model of pastoral sermons for victims of sexual violence against women in Maluku. This research focused on identifying and exploring the tragic experiences and impacts of sexual violence against women. Furthermore, a cross-cultural pastoral model was created for victims of violence.Contribution: This article provided a new perspective from the post-modern homiletics to approach social issues. This new homiletical approach to dealing with the problem of women’s sexual violence is one of the main focuses of ‘Women’s Theological Studies’ in HTS. (shrink)

On édite ici un sermon de Robert Holcot, frère prêcheur anglais actif dans les années 1331-1344, d’après le manuscrit 342 de la bibliothèque municipale de Toulouse. Ce discours introduit un commentaire à la Genèse qui est perdu. Il a dû être délivré dans un contexte conventuel, étant donné la diversité d’âges et d’occupations de son auditoire clérical. Il contient plusieurs traits notables que l’on peut qualifier de pré-humanistes : affirmation de la supériorité des Grecs sur les Latins, éloge de la (...) grammaire plus que de toute autre discipline, insistance sur la narrativité de l’Écriture, admiration pour les écoles philosophiques antiques. Parmi les sources citées, plusieurs exempla proviennent des Nuits Attiques d’Aulu-Gelle. (shrink)

Sermon Nuggets is a collection of ninety-one topics treated in hundreds of Fred R. Zimmerman’s sermons delivered over the span of six decades to a wide-ranging number of Protestant congregations, mostly in Ohio.

Meister Eckhart escribió textos en alemán y en latín. Pero, fuera del ámbito de los estudios eckhartianos, es conocido sobre todo por su obra alemana. De la obra latina, los textos menos frecuentados son los llamados “sermones latinos”: una serie de notas o borradores que podrían haber servido como material preparatorio para lo que en el Prologus generalis in Opus tripartitum el mismo Eckhart llama el Opus sermonum, del que no tenemos más noticia que la del Prologus mencionado. En castellano, (...) el destino de la obra latina de Eckhart no ha sido hasta ahora demasiado afortunado. Pocas son las traducciones. Y, en cuanto a los “sermones latinos”, ninguno ha sido traducido todavía. Ofrecemos la traducción de uno de estos sermones, el XXXVII, en el que Eckhart comenta un texto de Pablo (Efesios 4, 1-6): Unus deus et pater omnium. En el estudio preliminar se ofrece (1) una introducción a la obra latina de Eckhart en general y, en particular, a los “sermones latinos” y (2) un comentario del texto traducido. (shrink)

Dans le cadre de la réflexion menée par Jean Gerson (1363-1429) sur l’activité pastorale, le sermon occupe une place fondamentale aux côtés de la confession, place dont témoigne la pratique de prédicateur par laquelle il s’est illustré. Le sermon est investi par Gerson d’un rôle séminal dans l’articulation entre l’orthodoxie et l’orthopraxie, puisque la parole du pasteur est à l’articulation de la généralité de la loi qu’il doit transmettre et de la singularité de l’action qu’il doit réguler. Ce problème du (...) rapport entre le général et le particulier, chez Gerson, est résolu en grande partie, grâce à un détour par la casuistique, entendue comme méthode pour poser un cas et résoudre la question précise qu’il soulève. Par là, le sermon apparaît à bien des égards comme un appel à l’examen de conscience et une préparation à la confession, qui vient compléter à un niveau véritablement individuel, le travail de médiation entre la loi et le cas à l’œuvre dans la prédication. C’est cette mise en œuvre de cette proto-casuistique, illustrée par l’analyse du cycle de sermons français intitulés Poenitemini, qui permet de considérer la pratique du sermon comme une forme d’ ethica utens. (shrink)

This is a very short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.

Why do scientists do experiments? What do their experiments reveal? Scientifically, can we decide what to believe? Is evolution a scientific theory? Such apparently simple questions are brilliantly investigated by celebrated philosopher and professor Alan Musgrave in order to interrogate the worldviews we inhabit - and their consequences. Musgrave brings to these questions an expansive historical knowledge, provoking readers to enter the now-discredited belief-systems of earlier ages in order to compare these with their own beliefs. Discursive, entertaining, and provocative, Secular (...) Sermons contains fourteen essays by Musgrave - New Zealand's leading contemporary philosopher - examining the basic assumptions of science, religion, and mathematics. The book is an insightful introduction to the philosophical thought of Aristotle, Bacon, Copernicus, Galileo, Newton, Herschel, Darwin, and Einstein, among others. It puts modern science in a broader historical perspective and offers an entertaining introduction to the philosophical paradigm of Critical Rationalism. (shrink)

This article reports on ethnographic research into the practical and ethical consequences of the implementation and use of telecare devices for older people living at home in Spain and the United Kingdom. Telecare services are said to allow the maintenance of their users’ autonomy through connectedness, relieving the isolation from which many older people suffer amid rising demands for care. However, engaging with Science and Technology Studies literature on “user configuration” and implementation processes, we argue here that neither services nor (...) users preexist the installation of the service: they are better described as produced along with it. Moving beyond design and appropriation practices, our contribution stresses the importance of installations as specific moments where such emplacements take place. Using Etienne Souriau’s concept of instauration, we describe the ways in which, through installation work, telecare services “bring into existence” their very infrastructure of usership. Hence, both services and telecare users are effects of fulfilling the “felicity conditions” of an achieved installation. (shrink)

Joseph Butler's Fifteen Sermons (1729) is a classic work of moral philosophy, which remains widely influential. The topics Butler discusses include the role of conscience in human nature, self-love and egoism, compassion, resentment and forgiveness, and love of our neighbour and of God. The text of the enlarged and corrected second edition is here presented together with a selection of Butler's other ethical writings: A Dissertation of the Nature of Virtue, A Sermon Preached Before the House of Lords, and (...) relevant extracts from his correspondence with Samuel Clarke. While this is a readers' edition that avoids cluttering Butler's text with textual variants and intrusive footnotes, it comes complete with scholarly apparatus intended to aid the reader in studying Butler's work in depth. David McNaughton contributes a substantial historical and philosophical introduction that highlights the continuing importance of these works. In addition, there are extensive notes at the end of the volume, including significant textual variants, and full details of Butler's sources and references, as well as short summaries of Butler's predecessors, and a selective bibliography. This will be the definitive resource for anyone interested in Butler's moral philosophy. (shrink)

Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her 2003/12 (...) book Aesthetics of Installation Art Juliana Rebentisch challenges this binary characterization of autonomous/non-autonomous art. She argues that aesthetic autonomy is not something that can be guaranteed by production, but rather is explicable only with reference to the structure of the aesthetic experience. And for Rebentisch, while installation art has not led to fundamentally different conditions of reception, it has led to an ideological rejection of the notion of context-independent art. Aesthetic autonomy is here not abandoned, but rather reconfigured as a dynamic operational with respect to the ethical and political situation where we encounter the artwork. Sympathetic to the broad remit of Rebentisch’s argument, this article investigates the role of the beholder’s share within the context of such situated art. I draw specifically on Wolfgang Iser’s transformation of a negative aesthetics from binaries of negation/affirmation into an enabling structure where the organization of signifiers serve not the designation of a signified object, but rather designate instructions for the production of the signified. This requires work of the situated beholder, who must negotiate access to the work’s content by bringing her orientation into play. Installation art, thus conceived, constitutes a space that while virtualized – removed from functional imperatives – compels acts of imagination/ideation by problematizing our habitual dispositions. (shrink)

Transformation of the sparrow and the butterfly -- Meeting the gods of poverty in a dream -- The greatest joys of the cicada and its cast-off shell -- The owl's understanding -- The centipede questions the snake -- The toad's way of the gods -- The mysterious technique of the cat -- Afterword by William Scott Wilson.

This study considers Newman’s sermon—“On the Nature of the Future Promise”—which he preached on 4 September 1825 at St. Clement’s Church, Oxford—likely with his mother and sisters present in the congregation; in addition to treating Newman’s style of preaching and Evangelical theology, this sermon’s theological and pastoral dimensions are also examined.

In medieval universities, preaching formed an essential part of the curriculum of theology. Though we know next to nothing about how the subject was formally taught and studied, we are well informed about its requirement and exercise. As early as the end of the twelfth century Peter the Chanter stated that the graduate in theology had to show proficiency in three areas: in lecturing, disputation, and preaching . How and when in a student's career such preaching was to be done (...) is set out in the statutes of major universities, such as Paris, Oxford, Cambridge, and others. In 1253, for instance, the statutes of Oxford University declared that “no one shall incept in theology in this university unless he has first been regent in the arts …, and unless he has lectured on some book from the biblical canon or a book of the Sentences or Histories, and preached in public before the university.” The three-fold requirement was still in place in the fourteenth century and later: “Those who are about to incept in theology, before they are admitted to inception, must throughout all theology schools oppose in public, preach in public, and read in public some book from the biblical canon or the Sentences.” The times and places of such required public preaching, as well as the order in which theologians would give their public sermons, were all regulated in similar statutes and have been discussed in Hastings Rashdall's history of medieval universities and, with particular focus on Oxford, by A. G. Little and F. Pelster. (shrink)

Cet article est une étude synthétique des installations commerciales de la ville de Délos à l'époque hellénistique. On examine les constructions qui appartenaient aussi bien aux installations temporaires qu'aux installations permanentes, on propose une nomenclature et on présente les locaux de production et de vente certainement identifiés. On propose ensuite des critères d'identification des installations commerciales et on tente de retrouver leur mode de fonctionnement. On présente enfin les programmes d'aménagement qui ont conduit à la construction des locaux de commerce (...) et la distribution de ces locaux dans la ville. On constate que le grand nombre et la diversité des installations liées au commerce confirment la réputation de Délos en tant que grand centre commercial à la fin de l'époque hellénistique. (shrink)

The Sermon on the Mount is not abstract idealism. It connects to our political contest not least because it insists on the big questions of purpose and ends and how society should be ordered. Rooted in the Old Testament focus on the fair distribution of wealth (ensuring the poor get priority) — cf. Proverbs 2, 8, 9, 14, 15, 29 — the Sermon is a programme for social citizenship and local community development.

ObjectivesConstant Installation of Present Orientation and Safety is a Eye Movements Desensitization and Reprocessing -derived technique, which is often used to prepare for the treatment of post-traumatic stress disorder. It differs from the latter by involving cyclically recurring exercises in reorientation to the present, interspersed between brief periods of exposure to the traumatic material.While EMDR is well established as a therapeutic method, the efficacy and mechanisms of action of CIPOS have not been investigated so far. In this pilot study, (...) an experimental setting was used to record the subjective and physiological effects of the CIPOS intervention compared to a control condition with pure mental exposition.MethodsThe study was performed on 30 healthy volunteers aged from 20 to 30 years. Distress was induced using audio files of subjectively stressful situations. Subjective distress was measured via the Subjective Units of Distress Scale, while physiological indicators were used as measures for objective stress. For each condition, pre- and post-intervention comparisons were calculated.ResultsIn both groups, startle reflex potentiation and mean skin conductance level significantly decreased. In the group with CIPOS intervention, but not in the control group, a significant decrease in the SUD value was found.Conclusion and significanceThe results show that the CIPOS technique is as effective as pure mental exposition in reducing physiological stress. In addition, a superiority in reducing subjective distress was found compared to pure mental exposition. Possible explanations of these effects are discussed. (shrink)

As the expression of God's radical pastoral care, the Sermon on the Mount can only be interpreted as communities of Christians attempt to live it.

Barthélémy d’Exeter était tenu en haute estime par ses contemporains, et les spécialistes de l’Angleterre du xii e siècle le connaissent bien. La collection de ses sermons a néanmoins très peu attiré l’attention. Elle est le résultat de plusieurs années de prédications adressées à des auditoires laïques, ecclésiastiques et monastiques, probablement dans le diocèse de Barthélémy. Il s’agit d’une source rare et précieuse, qui nous donne à voir comment un des prédicateurs les plus reconnus de sa génération composait ses (...) sermons, et témoigne d’une pratique courante et pourtant mal documentée : la prédication quotidienne d’un évêque du xii e siècle. (shrink)

Cet article est une étude sur l’apparition et la fortune critique du terme installation dans le vocabulaire de l’art contemporain. À travers la brève histoire de la diffusion de ce mot en art seront analysés les circonstances contextuelles, les modalités de fonctionnement et l’imaginaire de la forme « installation ». Devenue populaire grâce à trois artistes commissaires d’un lieu d’exposition à Londres, le « Museum of Installation » dans les années 1990, la forme « installation » (...) renvoie à des dispositifs antérieurs, amorcés dès les avant-gardes. L’analyse historique permet d’en appréhender les différents paliers : les prémisses, puis les « environnements » issus de l’assemblage et popularisés par Allan Kaprow, et l’« in situ », ces deux dernières formes et leur terminologie dominant jusqu’à la fin des années 1970. Après la transition constituée par les années 1980, le texte se conclut par l’analyse d’un moment inaugural ouvrant l’histoire des installations en France, les « Ateliers du Paradise » de 1991. À travers cette œuvre sont questionnées les différentes valeurs critiques comme les ambiguïtés de ce mode aujourd’hui si répandu internationalement qu’il semble à beaucoup synonyme d’art contemporain. This article studies the emergence and critical reception of the term installation in today’s artistic vocabulary. Through the brief history of the diffusion of the word will be analyzed its contextual circumstances, the functioning procedures and the imaginary conveyed through the different forms of installation. Mediated by three artists who, in the 1990s, curated a place in London they called the “Museum of Installation”, installation as an art form much predates the 1990, and can be found in avant-garde art. The historical analysis allows one to discern different stages: the premises of installation, “environments” issued from assemblage and popularized by Allan Kaprow, “site-specific” installations,—these last two forms and words being prevalent up to the end of the 1970s. After presenting the transitional period of the 1980s, the text concludes with the analysis of an inaugural event opening the history of installations in France, the “Paradise’s Studios”, in 1991. Through this analysis are questioned the critical values as well as the ambiguities of installation, as this very form is so internationally spread today that it seems to mean contemporary art itself. (shrink)

In our Age of Interaction, we need a historically based method for validating our ethics as standing on solid ground. Applying such a method to historical test times such as the Third Reich, the US Civil Rights Movement, and others, indicates that an ethic of incarnational discipleship, trinitarianly interpreted, passes the test. But this requires an interpretation of Jesus' Sermon on the Mount that corrects idealist interpretations, and points instead to realistic practices of deliverance. A new paradigm for interpreting the (...) Sermon on the Mount is demonstrated, with fourteen grace-based transforming initiatives of realistic deliverance from vicious cycles. A hermeneutic of analogical imagination is advocated for relating Jesus' practices in his context to effective practices of deliverance in our historical context. This points to realistic practices of just peacemaking that are effective in preventing wars and creating conditions that lead toward peace — and therefore are realistic for social ethics. (shrink)

Nous examinons ici un type très caractéristique d'installation artisanale, fréquente dans les habitats ou les bâtiments isolés de l'époque minoenne. Elle est composée, dans sa forme la plus simple et la plus courante, d'un récipient tronconique avec bec verseur placé sur une plate-forme artificielle ou un banc et, en immédiate relation avec lui, d'un grand vase situé à un niveau inférieur, servant à recueillir un liquide. On a donné des interprétations variées de ces installations : servaient-elles à séparer deux (...) liquides (huile et eau), au cours de la production de l'huile? à écraser les raisins pendant la fabrication du vin? à laver les vêtements? Après avoir dressé un catalogue, aussi complet que possible, des installations minoennes de ce type connues à ce jour, on tente de comprendre leur fonctionnement, à l'aide de données comparatives et de parallèles iconographiques diachroniques. Enfin, on examine le rôle de ces installations dans le cadre socio-économique plus large de l'époque minoenne. (shrink)

Since Norbert Wiener presented a new research field called the study of control and communication in the animal and the machine, the biological and the artificial universes are each time more integrated as pieces of a game that involves science, philosophy, technology, arts, architecture and several other fields. It is astonishing to take a look at an imaginary non-linear timeline where it is possible to see the ancient Ars Mnemonica inspiring the Leibniz combinatoria and how all these virtual knowledge structures (...) inspired the development of a communication and control machine called the computer. A machine that is quite an exploded black box artificial systems integrated into biological systems in a cybernetic structure through which most diverse kinds of information flows. We are living in times in which the logic of this machine becomes the core of our post-biological era in its essence, the era in which the biological and artificial realms are immersed in one another. An era in which we see [] humans in fact integrating with the fiction of their imagination as conjured up digitally by the computer, and in which the digital arts emanating from the cosmology of number are also a link between digital finality and infinity imagination, defending man in his impossibility to be simulated (Weibel 1999: 222). Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet. The aim of the present research is to study this choreography using the complex sciences framework. Following this objective, a series of parameters based on systemic measures of organization and complexity were structured. Our intention is, obviously, not to say that the work of art is more or less systemic, more or less complex or organized, but to help in understanding and to conceive the installation as a system: a complex adaptive system (CAS). (shrink)

This study considers Newman’s sermon—“On the Nature of the Future Promise”—which he preached on 4 September 1825 at St. Clement’s Church, Oxford—likely with his mother and sisters present in the congregation; in addition to treating Newman’s style of preaching and Evangelical theology, this sermon’s theological and pastoral dimensions are also examined.

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the (...) ambiguity of reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing (...) properties in common: display and site-responsiveness. I will explore this shared ground, and make some remarks on how this helps illuminate the deep relationship between installation art and exhibition-making. (shrink)

"Augustinus" 54 (2009) 13-32 publicó la versión española de los sermones agustinianos Erfurt 1=282 aum., sobre Perpetua y Felicidad, Erfurt 5=362A "Acerca de la resurrección de los muertos" y Erfurt 6=313G, sobre Cipriano. Ahora publica la traduccion de la editio princeps de otros tres sermones de san Agustín, desconocidos hasta ahora, aunque del tercero existían fragmentos, s. Lambot 28=164A. Tratan de la limosna. El lenguaje, el estilo y sus respectivos títulos coincidentes con POSSID.: índic. X6, 190-192, demuestran su autenticidad.

Les installations de musiciens, souvent acousmatiques, semblent encore marginales au sein de la musique savante. S’y attachent un ludisme régressif, art relationnel interactif, ainsi qu’un néo-futurisme encore validé par les laboratoires de création musicale, surtout autour de l’an 2000, en soi paradigme science-fictionnel de l’imaginaire collectif. Des installations rappellent des vaisseaux spatiaux. D’autres engendrent des onirismes cristallins de verres usinés. Phénoménologie naïve, ou narcissique et postmoderne découverte des sens, certaines installations, enfin, délocalisent l’écoute sur diverses parties du corps. Art-thérapie écologique, (...) l’archétype du « jardin sonore » en naît logiquement. The installations by musicians, often acousmatic, still seem marginal to sholarly music. They carry a regressive playfulness, an interactive relational art, as well as a neo-futurism still validated by the laboratories of musical creation, especially around the year 2000, in itself science-fictional paradigm of the collective imagination. Some installations evoke spaceships. Others engender crystalline fantasies of machined glass. Like naive phenomenology, or narcissistic and postmodern discovery of the senses, some installations, finally, relocate listening on various parts of the body. Ecological art therapy, the archetype of “sound garden” is logically born. (shrink)

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sermon on the Mount and Moral Theology: A Virtue Perspective by William C. Mattison IIIRebekah EklundThe Sermon on the Mount and Moral Theology: A Virtue Perspective William C. Mattison III NEW YORK: CAMBRIDGE UNIVERSITY PRESS, 2017. 290 pp. £75.00Undergirding this book is a principle from the Catechism of the Catholic Church: the "analogy of faith" or "the coherence of the truths of faith among themselves" (241). the (...) "truths of faith" under consideration are Matthew's sermon on the Mount (sM) and the virtue ethics of thomas aquinas. Mattison aims to restore the sM to a more prominent place in Catholic moral theology by demonstrating the convergence between the teachings of the sM and thomistic virtue ethics.In this endeavor, the book largely succeeds, even if it occasionally over-reaches—that is, the sM is always shown to be in perfect harmony with thomas's teachings on virtue ethics, in which some readers might see points of tension. For example, Mattison uses thomistic action theory to argue that the beatitudes (Mt 5:3–12) and the sM's concluding exhortations (Mt 7:13–29) both demonstrate an "intrinsic relationship" between action and eternal reward; that is, the "qualifying condition" (e.g., meekness) is itself constitutive of happiness and is thus an activity that continues in eternal life (22–25, 209, 221). Purity of heart works well in this framework, but Mattison struggles to make mourning fit. the thomistic lens determines the sense of the text: Whatever mourning is, it is an activity that must persist in heaven, limiting the options for interpretation.Mattison also aligns the seven virtues—faith, hope, love, prudence, justice, temperance, and fortitude—with the seven beatitudes (following augustine's reduction of the beatitudes from eight to seven), with the seven petitions of the Lord's Prayer, and with sections of the sM as a whole. these latter, broad pairings are not always easy to find. Mattison matches the beatitudes with the virtue of faith, and the six antitheses with the virtues of temperance and fortitude. the virtue of love pairs with Matthew 6:1–6, 16–18 (teachings on prayer, alms-giving, and fasting, sans the Lord's Prayer); prudence, with Matthew 6:19–34 (worry and money); justice, with Matthew 7:1–12 (judging, asking, the golden rule); and hope, with Matthew 7:13–29 (concluding warnings and exhortations).similarly, a virtue is assigned to each beatitude (47) and to each petition of the Lord's Prayer (252). In the case of the Lord's Prayer, Mattison insists on a particular order of the virtues, following aquinas's ordering (but reversing [End Page 207] temperance and fortitude). But he does not use the same order of virtues for the Beatitudes or for the broader alignments with the whole SM (the orders are completely different for all three lists), raising the question of why Aquinas's order matters for one set but not for the others.Mattison's alignments show both his indebtedness to patristic and medieval tradition and his innovation. Medieval commentators commonly matched sets of sevens (Beatitudes, virtues, vices, gifts of the Spirit), but (rather remarkably) none of them ever appears to have understood the seven petitions of the Lord's Prayer as requests for the seven virtues, as Mattison does. Likewise, Mattison's alignment of the Beatitudes with the virtues follows the practice but not the substance of previous lists; his pairings match neither Ambrose's nor Aquinas's. I would have found a discussion of the differences helpful.The question is whether Mattison's alignments are fruitful or merely forced, and here readers may find the results to be mixed. Some are illuminating, such as the vice of presumption in relation to Matthew 7:21–23; others, such as the alignment of the six antitheses with the seven sacraments, "appear a bit of a 'stretch,'" as even Mattison admits (110).Overall, scholars and graduate students interested in Thomistic virtue ethics, and in the relationship between scripture and Catholic moral theology, will find much food for thought here.Rebekah EklundLoyola University MarylandCopyright © 2018 Society of Christian Ethics... (shrink)

In 1939, scholars associated with the pro-Nazi Thüringian German Christian movement founded a research institute dedicated to the task of removing the legacy of Judaism from Christianity. The mission of the Institute for the Study and Elimination of Jewish Influence on German Church Life was to render Christianity acceptable within the antisemitic and militarized climate of National Socialism. This task required purging Christian theology of Jewish influence, a feature evident in the Institute's version of the New Testament titled The Message (...) of God. This publication aimed to transform the religious experience of ordinary German believers and would eventually sell over 200,000 copies. This article examines material in this text as it relates to the Sermon on the Mount and concludes that, despite the apparent incongruity between Nazi ideology and New Testament ethics, the editors of the so-called ‘Nazi Bible’ believed their task to be guided by Christian ethical principles. (shrink)