David Hume wrote prolifically and influentially on economics and was an enthusiast for the modern commercial era of manufacturing and global trade. As a vocal critic of the Church, and possibly a nonbeliever, Hume positioned commerce at the vanguard of secularism. I here argue that Hume broached ideas that gesture toward those offered by Max Weber in his famous Protestant Ethic and the Spirit of Capitalism (1904-5). Hume discerned a strong correlation between economic flourishing and Protestantism, and he pointed (...) to a “spirit of the age” that was built on modern commerce and fueled by religious tolerance. The Roman Catholic Church, by contrast, came under considerable attack by Hume, for fostering intolerance and draining and diverting funds. Hume recognized several of the dispositions that later appealed to Weber: an increased work ethic and tendency to frugality, enterprise, and investment in Protestant regions. A neo-Weberian literature now points to additional factors, the spread of literacy and the fostering of a network of trust among strangers, both of which Hume noted. Insofar as modern commerce both feeds upon and fosters more liberties and representative government, Hume also linked these with the advent and spread of Protestantism. My aim is not to suggest that these arguments have merit—there is good reason to question each and every assertion under the historical microscope—but rather to highlight the broader religious and cultural context in which Hume’s economics was broached. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Reason and Religion”: The Science of AnglicanismRaymond D. TumblesonThis essay explores a rhetoric of “reason” in Anglican anti-Catholic polemics during the short and turbulent reign of James II. This reign witnessed an intense propaganda battle between Catholic and Anglican pamphleteers because the former for the first time in over a century were permitted openly to put their case, and in response the latter defended their doctrine and status as (...) the established church with a new urgency. For the first time, the possibility, feared by English Protestants and hoped for by Catholics, that given encouragement many people would convert to Catholicism, “the most conspicuous deviant element in society,” seemed credible, although, unsurprisingly given the brevity of James’s rule, both hope and fear proved groundless. 1 In addition to reiterated claims to have scripture and antiquity on their side, apologists for the Church of England offered a third and clinching argument against Catholicism—that reason itself was with them. They saw no contradiction between what Richard Sherlock calls a “scripture-based argumentative framework” and “the priority of natural reason.” 2 In A Rational Account of the Grounds of Protestant Religion Edward Stillingfleet developed what would become the predominant Anglican theological case against Catholicism twenty years later, when he endorsed “the judgement of Sense” as the means to a “certainty “ independent of the Papal “Infallibility “ that “Destroy[s] the obligation to Faith which ariseth from the rational evidence of Christian Doctrine.” 3 Far from mutually [End Page 131] exclusive, Protestantism and reason seemed naturally complementary, even identical, to Anglican polemicists: only Popery, in its superstition, idolatry, and implicit faith, was antagonistic to reason. As Richard W. F. Kroll observes, the “defense of contingency, premised on a skeptical empiricism, becomes not the chief discourse of dissent but, again, its opposite: the language of the most visible institutions returned to power after the Restoration.” 4 Reason and the Anglican monopoly of worship are consistently identified by Anglican apologists of the 1680s, and Popery threatens both.What Terry Eagleton has called “the Enlightenment dream of a world entirely transparent to reason, free of the prejudice, superstition and ob-scurantism of the ancien regime” has unacknowledged antecedents in Protestant polemics against “the prejudice, superstition and obscurantism” of Catholicism. 5 This essay examines the differences between the polemical literatures of the reigns of Charles II and James II, the ways in which “reason” becomes an important force against Catholicism, and the method in which this usage entangles anti-Catholicism in the construction of modern science. In 1685, the year of James’s coronation, John Williams argued that religious services ought to be conducted “in a Tongue understood of the people,” recommending that “we consult the reason of the thing.” 6 In attacking Catholicism, Anglican theologians redefined religion itself as based more on reason than on faith, because Papists could lay equal claim to faith, but only the Church of England possessed reason as they defined it. Stillingfleet’s theological career is paradigmatic for Restoration Angli-canism’s enlistment of reason in sectarian disputes: his Originae Sacrae (1662) defends Christianity as rational, then in 1665 A Rational Account of the Grounds of Protestant Religion narrows religious rationality to exclude Catholicism; in the wake of the Exclusion Crisis, the 1681 The Unreasonableness of Separation chides Dissenters for being “unreasonable” because they do not conform to the Church of England; and finally in 1687 The Doctrine of the Trinity and Transubstantiation Compared, as to Scripture, Reason, and Tradition returns to the subject of A Rational Account, tightening its six hundred learned pages into colloquial propaganda aimed at lay readers. 7 In the clear light of reason, where the only static—in Michel [End Page 132] Serres’s sense—is corruption, disagreement (with Anglicanism) becomes impossible. 8This paper examines sectarian polemics in order to approach the relation between science, the paradigmatic modern intellectual structure, and theology, the paradigmatic premodern intellectual sructure, from an unaccustomed angle. The immense wave of propagandistic Anglican theologizing under James II establishes the superiority of the Church of England to Rome by re-borrowing the methods and conventions of rationality which scientific experimentalism itself had originally derived from theology. 9 In these tracts... (shrink)

My aim in this paper is to discuss the topicality of Merton’s thesis with a twofold meaning: as an idea which has its own place in the sociology of science and as an idea which is currently in its area of research. Merton asserts that the development of science in 17th century England was aided by the Puritan ethic. This does not means that science was caused by Puritanism, but only that Puritanism provided major support for the scientific activity. Because (...) secularization and integration were two complementary processes, the relationship between science and religion was not simple. I connect Merton’s thesis with Weber’s thesisabout Protestantism and capitalism and try to see it in the light of the cultural climate of its time. Finally, I argue that Merton offers a unified analysis of scienceas a social institution. (shrink)

Introduction. Judgments on church authority have been transformed depending on the changing posi- tion of the Church in society and its relationship with the state. In the process of rethinking, there have developed special traditions of its understand- ing, which reflected the specifics of the existence of Christian communities in different cultural and legal conditions. The purpose of the study is to outline the traditions of understanding church authority in three Christian denominations and offer grounds for their comparison in the (...) philosophical and canonical aspect. Methods. A comparative method is used on the basis of analyzing philosophical literature and canon-legal sources. Scientific novelty of the research. The article for the first time systematizes confessional differences in interpreting the form, content and levels of church authority. Results. It is shown that the decisive factor de- termining the differences between confessional traditions in the understanding of church authority is the nature of the boundary between the sacred and government authorities. Catholicism, consider- ing the governmental power established by God, includes it in the sacred, along with the teaching and sacramental. Protestantism, on the contrary, radically opposes it to the sacred, recognizing it as the prerogative of the state. Orthodoxy, as a rule, does not recognize government power as sacred, but it does not separate it from the church. Conclusions. An analysis of the positions ex- pressed by representatives of various Christian denominations regarding church authority makes it possible for us to conclude that the Orthodox tradi- tion tends to defend a position equidistant from polar opinions. (shrink)

In his contribution to this special issue, Michael Northcott argues that there is a historic association between Protestant cultures and the origins of environmentalism. It seems to me, however, that the connection between Protestantism and environmentalism is more complicated and ambivalent than the positive relation he highlights. In this paper, I will problematize that relation on the basis of various theoretical and empirical contributions in the literature on religion and environmentalism. Different positions in this regard within Protestantism (...) will be identified and related to theological positions and the historic impact of Protestantism on culture. In the final section, the impact of environmental degradation on the poor will be highlighted, which leads to the identification of a tension between an orthodox/evangelical Protestant stance towards the poor and towards the environment. (shrink)

This project presents a comparative philosophical approach to understanding key elements in the philosophy of Søren Kierkegaard by juxtaposing his works with the philosophy and theology of the Eastern Orthodox Church.. The primary aim of the project is to look at three key areas of Kierkegaard’s philosophy that have been either underrepresented or misunderstood in the literature. These three areas are: Kierkegaard’s views on sin and salvation, Kierkegaard’s epistemology, and Kierkegaard’s philosophy of personhood. The dissertation ends with an epilogue (...) that briefly explores a further area where this comparative approach might provide fruitful results, namely Kierkegaard’s views on collective worship. I argue that the revolutionary nature of Kierkegaard’s break with prevalent views in the Western Christian traditions (Protestantism and Roman Catholicism) have not always been fully appreciated due to the fact that he is most often read through the lens of either Western Christianity or the Western philosophical traditions that he came to influence (e.g. existentialism and post-modernism). Viewing Kierkegaard in light of the Eastern Christian tradition offers a new interpretive lens that highlights the extent to which Kierkegaard aimed to break free from standard Western accounts of sin and salvation, knowledge of God, and human personhood. (shrink)

The activities of early Protestantism have been sufficiently researched, especially nowadays. But most of the works are mostly about his penetration into the Ukrainian land and adaptation to new socio-historical conditions. Unfortunately, the original base of early Protestantism, in particular Calvinism, has not been practically studied, though we have preserved two particularly noteworthy testimonies of Ukrainian Calvinists. One of them is the Gospel teachings that emerged in the sixteenth century. in Transcarpathia in the village of Nyagovo of the (...) present Tyachiv district. The monument is so unexplored that even the Calvinist content is expressed in the scientific literature. In this connection, we set ourselves the task of analyzing the content of this monument and bringing it to Calvinism, that is, to reformation. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Building on previous speculations on the theological meaning Shakespeare intends with Falstaff, this essay argues that the character dramatizes the apprehension that tends to accompany a Protestant soteriology. Falstaff’s teasing Bardolph about his spiritual destiny bespeaks fright about himself, with the invoked memento mori calling attention to the unavailability of comforting ideas such as purgatory and self-determined repentance. Similarly, Falstaff’s forays into military impressment figure the incomprehensible nature of divine election, from a Protestant view. Through Falstaff, Shakespeare is not offering (...) a theological argument, so much as expressing sympathy for those afflicted with the anxieties to which Protestantism might leave them vulnerable. (shrink)

Factoring in the paradoxical relationship between faith and empiricism in Protestant epistemology, this essay attributes Othello’s disaster to his inability to take the leap of faith a Protestant sensibility demands. Protestantism inherits from Luther a rigid compartmentalization of the knowable and the mysterious. Othello, innately inclined and further conditioned to think in terms of “tangible evidence,” cannot imagine alternative possibilities. His handling of Cassio’s brawl shows how Othello requires that facts speak for themselves, and how he has no access (...) to the “imaginative effort” necessary for charity. Additionally, Iago’s manipulation renders imagination intolerable for Othello, and reinforces his tendency to literalism, doctrinal purity, and a need for certainty. (shrink)

The religious controversies of the 17th century are of central importance to any attempt to appraise the role of Christianity in the genesis of "modern secular society." In the 18th century there was a clear understanding that modern philosophy was hostile to religion, as the French Revolution proclaimed. The reappraisal of this relation began in Hegel's Phänomenologie, and became explicit with Max Weber: secularism is the consequence of Christianity. The adjudication of this issue demands an evaluation of the interpretations of (...) the Bible and of Christian morality made by such men as Hobbes, Spinoza, and Bayle. According to the Enlightenment, they speak as believers only in order to interpret Christianity in such a way as to make it tolerate the new philosophy. Rex would correct this view of Bayle's intention; he would show that Protestantism, and in Bayle's case, Calvinism, is the source or a source of the belief in the sovereignty of reason. One may doubt whether Rex has proved that the Enlightenment misunderstood Bayle's intentions. Nevertheless, this study, the first part of which is devoted to the Pensées diverses sur la comète, the second to the Commentaire philosophique, is a very helpful guide to an extensive literature. And in his very attempt to prove his thesis Rex frequently brings to light aspects of Bayle's rhetoric that must be noticed in order to understand his writings.—H. C. (shrink)

It is common to portray conservative and liberal Protestant denominations as “strong” and “weak” on the basis of indices such as church attendance. Alternatively, they can be regarded as qualitatively different cultural systems that coexist in a multiple-niche environment. We integrate these two perspectives with a study of American teenagers based on both one-time survey information and the experience sampling method (ESM), which records individual experience on a moment-by-moment basis. Conservative Protestant youth were found to be more satisfied, family-oriented, and (...) sociable than liberal Protestant youth, but also more dependent on their social environment, which is reflected in a deterioration of their mood when they are alone. Liberal Protestant youth appear to have internalized values that remain constant whether in the presence or absence of others. We relate these results to the social scientific literature on liberalism and conservatism and to evolutionary theory as a framework for explaining cultural systems as adaptations to multiple-niche environments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Scandal of White Complicity in US Hyper-Incarceration: A Nonviolent Spirituality of White Resistance by Alex Mikulich, Laurie Cassidy, and Margaret PfeilNancy M. RourkeThe Scandal of White Complicity in US Hyper-Incarceration: A Nonviolent Spirituality of White Resistance Alex Mikulich, Laurie Cassidy, and Margaret Pfeil new york: palgrave macmillan, 2013. 203 pp. $90.00As a white American Catholic ethicist, I often envy my Protestant counterparts’ legacy of acknowledging and fighting (...) racism. Catholic moral theology lacks Protestantism’s bodies of literature, activism, and bold ecclesial statements addressing racism in the United States. (For more on this, see Bryan Massingale’s Racial Justice and the Catholic Church.) The Scandal of White Complicity in US Hyper-Incarceration demonstrates how Catholicism might approach American racism using several elements of Catholic theology.The book opens with series editor Mary Jo Iozzo’s introduction to the Content and Context in Theological Ethics series, of which this is the fifth book. A personal and reflective foreword by Sr. Helen Prejean follows. Then the book’s argument begins with a description of the United States’ practice of mass incarceration and brief discussions of what is meant by “whiteness” and “complicity.” This book employs a phenomenological understanding of race and of whiteness, taking whiteness as habitus. The literature about this approach to race and to identity is enormous, but familiarity with that literature is not necessary to follow this book’s presentation, argument, or use of the idea.Each of the book’s three authors has written a two-chapter section. Alex Mikulich’s explanation of white habitus speaks on levels of social thought and of the individual’s experience. Laurie Cassidy’s section looks at the culture of hyperincarceration and the development of the “dangerous black man” myth, and Margaret Pfeil’s section on spirituality works from the beatitudes, John of the Cross, and a wide array of other sources to describe a political spirituality of resistance for white Christians.This book would be most useful to masters-level graduate students in theological ethics or anyone preparing to begin teaching in areas of ethics related to racism or criminal justice (particularly in Catholic institutional settings). Rather than drawing exclusively on Catholic social teaching to talk about white participation in racism, these authors more satisfyingly put many Catholic traditions into action. For example, the book demonstrates careful use of the concepts of complicity, responsibility, participation, and intention; it considers specific [End Page 195] actions while maintaining focus on systems’ structures; and it uses a wide range of Catholic thinkers, including Metz, Copeland, Soelle, Gutiérrez, Carmelite Sr. Constance FitzGerald, Lonergan, Day, and John of the Cross.This book assumes and asserts that racism still exists, that whiteness exists and aims to make itself invisible, and that racism is kept alive through social structures that flow from white habitus. However, the book does not assume the reader’s agreement with any of these. Instead, the book first makes the case that these things are true and then takes next steps toward responsive practices of resistance. Rhetorically tinged homiletic shortcuts are not used to bolster this argument. For example, in similar works, the question of moral culpability for racist social structures is sometimes managed only with a discussion of how such structures distribute benefits and harms unequally. In this book, that argument is not used alone but in tandem with a careful look at the intention of one’s participation in such structures.Minor problems exist. The book would have benefited from one more round of editing to eliminate minor punctuation and writing problems, and the Catholic moral concept of “scandal” receives little systematic attention despite its presence in the title. Otherwise, the book demonstrates well what Catholic moral theology could do if applied to American white racism. Here’s hoping that this is just the beginning of more such scholarship.Nancy M. RourkeCanisius CollegeCopyright © 2015 Society of Christian Ethics... (shrink)

Historians of science and religion have given little attention to how historical‐critical scholarship influenced perceptions of the relationship between science and religion in the nineteenth century. However, the so‐called “cofounders” of the “conflict thesis,” the idea that science and religion are fundamentally and irrevocable at odds, were greatly affected by this literature. Indeed, in his two‐volume magnum opus, A History of the Warfare of Science with Theology in Christendom (1896), Andrew D. White, in his longest and final chapter of (...) his masterpiece, traced the development of the “scientific interpretation” of the Bible. In this article, I argue that developments in biblical criticism had a direct impact on how White constructed his historical understanding of the relationship between science and religion. By examining more carefully how biblical criticism played a significant role in the thought of White and other alleged cofounders of the conflict thesis, this article hopes to relocate the origins, development, and meaning of the science–religion debate at the end of the nineteenth century. (shrink)

Troeltsch seeks to determine how much the ÒModern SpiritÓ of the early twentieth century actually owed to Protestantism. Troeltsch then proceeds to a comparison between the essential spirit of Protestantism and the Modern Spirit. The book focuses on the practical: ethical, political, and economic.

Historical scholarship suggests that a robust cult of the saints may have helped some European regions to resist inroads by Protestantism. Based on a neo-Durkheimian theory of rituals and social order, I propose that locally based cults of the saints that included public veneration lowered the odds that Protestantism would displace Catholicism in sixteenth-century German cities. To evaluate this proposition, I first turn to historical and theoretical reflection on the role of the cult of the saints in late (...) medieval history. I then test the hypothesis with a data set of sixteenth-century German cities. Statistical analysis provides additional support for the ritual and social order thesis because even when several important variables identified by materialist accounts of the Reformation in the social scientific literature the presence of shrines as an indicator for the cult of the saints remains large and significant. Although large-scale social change is usually assumed to have politico-economic sources, this analysis suggests that cultural factors may be of equal or greater importance. (shrink)

This article examines Charles Villers's Essay on the Spirit and Influence of Luther's Reformation (1804) in its intellectual and historical context. Exiled from France after 1792, Villers intervened in important French and German debates about the relationship of religion, history, and philosophy. The article shows how he took up a German Protestant discussion on the meaning of the Reformation that had been underway from the 1770s through the end of the century, including efforts by Kantians to seize the mantle of (...) Protestantism for themselves. Villers's essay capitalized on a broad interest in the question of Protestantism and its meaning for modern freedom around 1800. Revisiting the formation of the narrative of Protestantism and progress reveals that it was not a logical progression from Protestant theology or religion but rather part of a specific ideological and social struggle in the wake of the French Revolution and the collapse of the Old Regime. (shrink)

The meaning of "the modern world" -- The meaning of "Protestantism" -- Protestantism and the modern world : points of contrast -- Protestantism and politico-social institutions -- Protestantism and economic organisation, social developments, science and art -- Protestantism and modern religious feeling.

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 30-56 [Access article in PDF] The Priceless IntervalTheory in the Global Interstice Reingard Nethersole In a poignant scene in Goethe's Faust [1.2038-39] an eager student seeking what we would call curriculum advice today asks what subjects he should study. Counseled by Mephisto in the guise of the master, Faust, the student is admonished to read for anything but theory because: "Grey, my friend, is all theory, (...) / Green alone is life's golden tree." Uttered from within the epitome of an ivory tower image, a vaulted "gothic study," the advice gains rhetorical strength from alliterative, juxtaposed color metaphors which celebrate an organicist, holistic vision of life. Given current attitudes toward literary theory, many enthusiastic freshmen will receive similar guidance. Theoretical deliberation and mediation in the academy were not always popular, to be sure, but the resistance to theory was never as acute as it is now, when the very institutional space inhabited by thought is being curtailed largely because of financial considerations. Thus drawn into cost-benefit calculations that figure the student (in South Africa) as "client," the professor as "cost factor," and education as branded product, the University sees itself compelled, under the hegemony of the economic, to side with praxis in place of theory. "Doing" rather than thinking, action rather than reflection might have seemingly won the day, yet the controversy surrounding the relation between theory and literature on the one hand and theory and praxis on the other persists both inside and outside the academy.At the heart of a modern organization of knowledge, the dichotomy of theory and praxis is inscribed in Kant's Conflict of the Faculties. It will be remembered that Kant divided the domains of philosophy, theology, law, and medicine that constituted the University of his day into the "lower faculty," philosophy (lower from the point of view of government), and the "higher" faculties of theology, law, and medicine (higher because they are closer to government power). However, by granting philosophy (reason) implicit guardianship over the "higher faculties," lest these would revert to magical practices, Kant's Enlightenment philosophy placed a wedge between theory and praxis, a wedge that not only recast an ancient (Western) fissure between contemplation and action, a conscious I think and an active I do, but also opened a space for a troubled relationship between philosophy and the other faculties and between the faculties and state power—or as is the case today—economic power.Kant's university, of course, did not know the "humanities" of which history and literature were to become an integral part along with philosophy in the early nineteenth century, but by ranking reason below the utilitarian subjects or "faculties" while, at the same time, recognizing philosophy's preeminence as their imperative, Kant's positioning of thought/theory in relation to praxis 1 set up a tension between thinking and doing [End Page 30] that reverberates, for instance, in literary studies' perennial conflictual pairing between a "green" intuitive, untrammeled appreciation of literary texts and a "grey" theory. Moreover, supported by a particular modern, Western socioreligious structure (Protestantism) that values (bourgeois) industriousness or labor more than (aristocratic) leisure, the legacy of the "conflict of the faculties" implicates the connection between the university as institution of knowledge production in relation to the various domains of knowledge application and/or consumption.Concerned about the multiple changes that involve our being and acting in the world before an ever-expanding planetary horizon, which in turn profoundly alters the educational objective of institutions of higher learning in general and menaces such sites of thought as literary theory in particular, I shall, in the following, sketch the interval, a topos borrowed from musicological discourse, as a place for theory under global conditions. In addition I shall attempt to conjoin the disparate sides/sites of criticism and theory by cross-stitching Bill Readings's thoughts on the transformation of the university, descriptions of university "reform" currently under way in South Africa, and Goethe's text in order to illustrate the kind of subject/self produced by education or Bildung in contrast... (shrink)

“This important collection of essays will help all Americans to consider anew the relationship between the ‘spirit of liberty’ and the ‘spirit of religion’ at work in the American Founding. Michael Zuckert’s masterful response establishes him as one of the leading scholars of the period.” —Jean Yarbrough, author of _American Virtues: Thomas Jefferson on the Character of a Free People_ "_Protestantism and the American Founding_ is an extraordinarily rich and thought provoking dialogue on the religious dimension of the nation's foundations." (...) —Thomas L. Pangle, University of Texas at Austin “This collection of essays by some of the most eminent scholars in the field will have a wide-ranging influence on both academic and political debate on the vital interaction of religion and politics in historical and contemporary America.” —Garrett Ward Sheldon, University of Virginia’s College at Wise This welcome new textbook explores the relationship between Protestant theology and American political thought of the founding era. It gathers together both new and well-known essays by scholars and outstanding thinkers in political philosophy and is enriched by classic selections from Alexis de Tocqueville's _Democracy in America_. _Protestantism and the American Founding_ will serve as a valuable classroom guide for discussion and debate about issues in American and modern political philosophy. (shrink)

Abstract: The paper deals with “Christian Zionists”, who have born out of Protestantism, conglomerate particularly in the United States of America, provide a non-proportional support for Israel and who at the same time antagonize Islam. The movement’s quiddity, genesis, theology, activities, as well as anti-Semitic and anti-Islamic tendencies are elaborated. According to initial findings, Christian Zionism constitutes an anomaly from a number of perspectives. Most importantly, Jews and Christians symbolize two communities that have been violently antagonizing each other since (...) centuries. Defenders of Christian Zionism believe in the eschatological scenario of “premillennial dispensationalism”, a theology mainly introduced by the Anglo-Irish priest John Nelson Darby that divides world history before the establishment of the global Millennial Empire following the Second Coming into seven dispensations. This scenario determines the raison d’être, purposes, friends and foes of the movement. While the Jewish role in it as frenemies is controversial and ambivalent, Muslims’ role as enemies is unequivocally unfavorable. This situation leads to the demonization of Muslims by Christian Zionist figures. Albeit being criticized by co-religionists in a number of areas including ethics, politics and particularly theology, Christian Zionists occupy a significant position in world politics thanks to their alliance with imperial powers. The paper aims to fill the scholarly gap caused by the scarcity of Turkish literature on Christian Zionism’s quiddity, as well as its nexus with antisemitism and anti-Islamism. -/- Öz: Çalışma Hıristiyanlığın Protestanlık mezhebinden doğan, özellikle Amerika Birleşik Devletleri’nde kümelendiği gözlemlenen, İsrail’i ve Yahudileri orantısızca desteklemesiyle bilinen ve aynı zamanda İslam’a ve Müslümanlara karşı düşmanca yaklaşımları haiz “Hıristiyan siyonistlerini” ele almaktadır. Hareketin mahiyeti, doğuşu, teolojisi, faaliyetleri ve kendisinde mündemiç olan antisemitizm ile anti-İslamizm olguları incelenmektedir. Bulgulara göre, Hıristiyan siyonizmi çeşitli açılardan bakıldığında bir anomali teşkil etmektedir. Bunlardan en önemlisi, Yahudilerin ve Hıristiyanların yüzyıllarca birbirlerine en üst seviyede düşmanlık etmiş olan iki topluluk oluşudur. Hıristiyan siyonistler dünya tarihini Mesih’in zuhuruyla birlikte kurulacak olan bin yıllık küresel krallık öncesindeki yedi bölüm olarak ele alan, sınırları büyük ölçüde İngiliz-İrlandalı teolog John Nelson Darby tarafından çizilen ve “premillennial dispensationalism (premilenyal dispensasyonalizm)” olarak bilinen teolojinin öngördüğü kıyamet senaryosuna inanmaktadır. Bu senaryo hareketin varlık sebebini, amaçlarını, dostlarını ve düşmanlarını belirlemektedir. Dost-düşmanlar olarak Yahudilerin buradaki rolü bazı çelişkiler ve ihtilaflar barındırırken, düşmanlar olarak Müslümanların rolü açıkça olumsuz bir görünüm arz etmektedir. Bunun sonucu olarak Hıristiyan siyonistler Müslümanları şeytanlaştırma eğilimine girmektedir. Her ne kadar dindaşları tarafından ahlak, siyaset ve özellikle teoloji eksenlerinde ağır eleştirilere tabi tutulsalar da Hıristiyan siyonistler emperyalist güçlerle olan uzun ittifaklarının da bir meyvesi olarak dünya politikasında kayda değer bir güce sahiptir. Hıristiyan siyonizminin mahiyeti ve dahi antisemitizm ve anti-İslamizm ile irtibatı konusunda Türkçe yazılmış eserlerin azlığına binaen çalışma literatürdeki bu boşluğu kapatma amacı taşımaktadır. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

After Stalin's death, the struggle for power took place in the top of the CPSU, and in the lower echelons they took a standstill, so in 1953, in the reports of the ROC Commissioner and the Commissioner of Religious Cults, he was formally restrained.

The rise of world literature is the most noticeable phenomenon in literary studies in the twenty-first century. However, truly well-known and globally circulating works are all canonical works of European or Western literature, while non-European and even "minor" European literatures remain largely unknown beyond their culture of origin. World Literature as Discovery: Expanding the World Literary Canon argues that world literature for our time must go beyond Eurocentrism and expand the canon to include great works from (...) non-European and "minor" European literatures. As much of the world's literature remains untranslated and unknown, the expansion will be an exciting process of discovery. By discussing fundamental questions around canon, circulation, aesthetic values, translation, cosmopolitanism and the literary universal, Zhang Longxi proposes a new and liberating concept of world literature that will shape world literature worthy of its name. This book speaks for a more inclusive idea of world literature, and shows students and scholars alike that all the literary traditions, particularly non-European traditions, will be able to make important contributions and expand the canon of world literature. (shrink)

Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values (...) and moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)

This chapter contains sections titled: Reference and Literary Language The Second Inheritance: Revealing the World through Metaphor and Paradox Initiation into the World: Appreciating the Adequacy of Words The Continuum between Philosophy and Literature Conclusion.

Hegel's Phenomenology of Spirit has attracted much attention recently from philosophers, but none of the existing English-language books on the text addresses one of the most difficult questions the book raises: Why does the Phenomenology make such rich and provocative use of literary works and genres? Allen Speight's bold contribution to the debate on the work of Hegel argues that behind Hegel's extraordinary appeal to literature in the Phenomenology lies a philosophical project concerned with understanding human agency in the (...) modern world. It shows that Hegel looked to three literary genres - tragedy, comedy, and the Romantic novel - as offering privileged access to three moments of human agency: retrospectivity, theatricality, and forgiveness. Taking full account of the authors whom Hegel himself refers to, Allen Speight has written a book with a broad appeal to both philosophers and literary theorists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:William Wordsworth and the Hermeneutics of IncarnationEdwin SteinWilliam Wordsworth and the Hermeneutics of Incarnation, by David P. Haney; xiii & 269 pp. University Park: Pennsylvania State University Press, 1993, $35.00.To the English Romantic poets, David Haney notes, the world seemed to have died at the hands of Enlightenment rationalism by being made merely a referent of transpicuous representational sign-systems. One of their fundamental projects was to reanimate it, (...) and Wordsworth committed himself to an animating poetics, incarnational in concept. Haney quotes the Wordsworthian incarnational locus classicus, the third “Essay Upon Epitaphs”: “If words be not... an incarnation of the thought but only a clothing for it, then surely will they prove an ill gift;... Language, if it do not uphold, and feed,... is a counter-spirit unremittingly and noiselessly at work to derange, to subvert, to lay waste, to vitiate, and to dissolve” (p. 1). He conjoins Wordsworth’s statement in a note to “The Thorn” that words should seize us “not as symbols of the passion, but as things, active and efficient, which are themselves part of the passion” (p. 24). “Incarnational” is not further defined directly, though we are told that it characterizes a poetic practice, “a philosophically and theologically important concept embedded [in our cultural] heritage,” and a theoretical orientation that acts “against the very idea of a ‘theory’” (p. 4). Haney draws principally from Gadamer, Lévinas, Cavell, Geoffrey Hartman, and Charles Taylor to explore through philosophical argumentation the ways in which Wordsworth incorporated, elaborated, problematized, and even betrayed these aspects of the incarnational process in his work.One of Haney’s concerns is to show how reading through the lens of incarnational poetics helps us see that Wordsworth incorporated historicity rather than suppressing it, as he is often accused of doing these days. Another is to demonstrate that deconstructive analysis, new-historical critique, and the secularized-Protestantism approach of M. H. Abrams are each inadequate to account for the hermenuetics of this poetics, because it resists and finesses the drive to create the transparent representational structures on which these critics focus. In his incarnational mode, his poetic thought aims not at realizing allegorized abstract truth but at presenting kerygmatically what is instantiated by incarnation as event; thought becomes materially existent without being changed into something else. Incarnational poetics thus acts to counter the binary oppositions (presence/absence, body/spirit, divine/human, etc.) on which both Enlightenment and Romantic discourse relied (the latter reversing the values), and defeats the binarism-dependent drive toward pure self-consciousness that always gets entangled in solipsism and semiological webs. Incarnating thought opens it to the historical process in the sense of Gadamer’s wirkungsgeschichtliches Bewusstsein: incarnation is not embodiment or an “ideal effacement of the difference between word and referent, but rather a process of spirit becoming event”; and words thereby become “things and events... which must enter the realm of mortality” (p. 19). [End Page 138]Haney links this confrontation of mortality to both Cavell’s idea of skeptical acknowledgment of the mortal other replacing knowledge and Lévinas’ conception of a preontological “saying” that dialogically makes us responsible for the other but must die into the “said” to be understood. These connections allow him to enlarge brilliantly our understanding of The Prelude, Book 5, and the “Lucy poems.” Here words achieve visionary power not by a symbolic link to transcendence but “by allowing themselves to be interrupted by that which is absolutely other, and therefore ‘infinite’ in Levinas’ sense” (p. 87). Haney extends this and related insights in a chapter on the final books of The Prelude that shows, among other things, how its figural structures for the autobiographical self begin to break down and are replaced by tropological performatives. These lead away from a systematic code of representation but allow recuperation through the “dialogue” with Coleridge, a non-totalizing process of closure that by linking the autobiographical self to the extratextual self opens the poem to a “range of projective sympathies” (Charles Altieri, quoted in Haney, p. 137).Haney also explores how the incarnational hermeneutic works to close the widening gap between epistemology and ethics fostered by the Enlightenment’s commitment... (shrink)

Examines interrelated topics in Medieval and Renaissance Latin literature: the status of women as writers, the status of women as rhetorical figures, and the status of women in society from the fifth to the early seventeenth century.

This paper considers the disciplines of literature and history and the contributions each makes to the discourse of bioethics. In each case I note the pedagogic ends that can be enacted though the appropriate use of the each of these disciplines in the sphere of medical education, particularly in the medical ethics classroom.1 I then explore the contribution that both these disciplines and their respective methodologies can and do bring to the academic field of bioethics. I conclude with a (...) brief consideration of the relations between literature and history with particular attention to the possibilities for a future bioethics informed by history and literature after the empirical turn. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The notion of (...) 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and solves contradictions (...) that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades. (shrink)

The literature on the Cambridge Platonists abounds with references to Neoplatonism and the Alexandrian Fathers on general themes of philosophical and theological methodology. The specific theme of the spiritual senses of the soul has received scant attention however, to the detriment of our understanding of their place in this important tradition of Christian speculation. Thus, while much attention has been paid to the clear influence of Plotinus and the Florentine Academy, far less has been given to important theological figures (...) that also form a vital part of the tradition the Cambridge Platonists find irresistible. Similarly, scholarship on the spiritual senses has tended to ignore early modern Protestant developments in this tradition focusing instead on patristic, medieval, and later modern figures. In response to these oversights, the present chapter provides a close reading and analysis of the reception and modification of Origen of Alexandria’s (185-252) doctrine of the spiritual senses in the “Discourse on the True Way or Method of Attaining to Divine Knowledge” by the Cambridge Platonist, John Smith (1618-1652). Although Smith accepted much of the doctrine as he found it in Origen his allegiance to modern notions of methodology, derived especially from Descartes, as well as his Protestantism, made taking the doctrine on authority or antiquity alone unacceptable. Smith therefore offered his own case for the spiritual senses, at once intentionally mimicking the Alexandrian’s interpretive synthesis of Platonism and Scripture (“Origen as model”) and echoing Origen’s own words (“Origen as source”). Whereas Origen made spiritual sensibility intelligible by means of Middle Platonic thought, Smith’s Neoplatonism provided the conceptual tools needed to make sense of biblical passages without suggesting a merely metaphorical meaning for sensory language concerning the awareness of spiritual realities. In this way, both tradition and innovation guide Smith’s reformulation of the doctrine of the spiritual senses. In addition to demonstrating Smith’s debt to patristic thought, this chapter also discusses his influence on such leading figures in modern theology as John Wesley (1703-1791) and Jonathan Edwards (1703-1758). The chapter thus presents an important moment in the development of Christian speculation about the spiritual senses that begins to bridge scholarship on the Patristic and Enlightenment periods. (shrink)

In Subjects That Matter, Namita Goswami attends to philosophy’s institutional and disciplinary failures to reconcile its identitarian claims to universality and reason with the feminist and postcolonial modes of thinking it traditionally keeps at bay. This essay places Goswami’s critique within a context of “the thought from outside,” which, beginning with Foucault’s reading of Blanchot, continuing through the geopolitics of Dussel’s philosophy of liberation, and prominent in Catherine Malabou’s conceptualization of plasticity, demonstrates how political critiques of philosophical hegemony contain an (...) implicit theorization of “literature.” If “literature” gives voice to the thought from outside, does it in turn “decolonize” philosophy? If so, what itinerary of thought ought to follow the relationship between this literary decolonization of philosophy and its imbrication within the fold of philosophical thought? How to conceptualize the plastic relation between inside and outside, between center and periphery, without subordinating the latter to the hegemony of the former? This essay argues for a coherence between Goswami’s and Malabou’s materialist understandings of difference and a conceptualization of literature as an “outside” to philosophy that operates “excentrically” “inside” philosophy. (shrink)