The reception of the heliocentric theory of Nicolaus Copernicus in Jewish thought of the 17th-century period is a good exemplification of the issue concerning the formation of the relationship between natural science and theology, or more broadly: between science and religion. The fundamental question concerning this relationship, which we can ask from today’s perspective of this problem, is: How does it happen that claims of a scientific nature, which are initially considered from a religious point of view to be (...) incompatible with the religious view of the world, are later accepted as possible to agree with this image of reality and are assimilated by a given religion? Based on the reception of the Copernican image of the universe by two representatives of Jewish philosophy in the 17th century—David Gans and Joseph Solomon Delmedigo—it is possible to trace this process and pose the thesis that it takes place according to two strategies. Within the framework of the first one, represented by Gans, in a situation of incompatibility between the scientific and religious images of nature, a scientific theory is sought that explains the observed phenomena and, on the other hand, satisfies the religious claims. Finding such a theory solves the problem of the incompatibility mentioned above of images of the world, gives the theory credibility from the religious point of view and constitutes an argument for its correctness. The second strategy, represented by Delmedigo, consists in refraining from pursuing a direct, immediate, and unequivocal reconciliation of the two images of the world while at the same time recognizing a properly justified scientific theory as correctly describing and explaining the phenomena occurring in nature. Consequently, the apparent incompatibility between the scientific and the religious worldview demands either a reformulation of religious statements in such a way as to remove this incompatibility or the restriction of the meaning of religious statements to the strictly religious and moral sphere, without the ambition to speak about nature. In either case, however, it is already a task for the representatives of the religion concerned who, when confronted with adequately justified scientific claims, to avoid exposing their religion to the accusation that its claims are unreasonable and anachronistic, undertake the task mentioned above of modifying or limiting the scope of their statements. It seems that in the representatives of Jewish thought and Judaism, who are the successors of Gans and Delmedigo, generally speaking, the second strategy has prevailed in this version, in which one abandons the claim of religion to statements about the material world at the price of a significant divergence of the paths of science and religion. Consequently, it treats them as different narratives, describing and explaining two separate spheres of reality. (shrink)

Resumen: Este escrito es un ensayo que busca tensionar el lugar de las imágenes en la experiencia religiosa, proponiendo que toda mirada religiosa es una mirada háptica, por tanto, una visualidad impura que involucra la corporalidad, el tacto y la cercanía de modo des-jerarquizado. La propuesta de este ensayo se basa en las metodologías visuales críticas, y se despliega a partir de una constelación de imágenes que muestran diversos lugares del cuerpo en un sentido religioso, comprometiendo algunos de sus elementos, (...) tales como el alma, la boca y el corazón. Se examinan imágenes en su relación con otras imágenes, objetos y oraciones, organizadas en series temáticas en función de su foco corporal. Las imágenes revisadas comienzan con una serie de la muerte de Santa Rosa de Lima, se concentran luego en la herida corporal en algunas iconografías de santos relativos al sagrado corazón de Jesús y termina en un conjunto de imágenes donde los corazones se independizan del cuerpo.: This essay aims to add further tension to the role of images in relation to religious experience, affirming that every sacred gaze is a haptic gaze, which is to say, a particular way of engaging with images through corporeality, proximity and touching in a non hierarchical way. The proposals exposed here are based on critical visual methodologies and it unfolds from a constellation of images emphasizing certain body parts in a religious sense, highlighting some of their elements, such as the soul, the mouth and the heart. These images are put in relation to other images, objects and prayers, and are organised in thematic series following their function on the corporal focus. The selected images comprise a series of Santa Rosa de Lima’s deathbed, then the attention goes to the exposed wounds of some saints devoted to the Sacred Heart of Jesus, and it ends in a group of iconographies where hearts are depicted independently of the body. (shrink)

In Augustinian fashion, James B. Ashbrook and Carol Rausch Albright develop a neurotheology that finds evolutionarily based correlations between the functions of the human mind‐brain and the roles God plays in human life. I argue that their assumptions of anthropomorphism, that the human mind‐brain must conceptualize its environment in human terms, and realism, that anthropomorphism is correct, are evolutionarily unlikely. I conclude that the image of God (imago dei) the authors find reflected in the human mind‐brain appears to derive from (...) their Christian religious commitments rather than from evolutionary theory. (shrink)

Images of Eternity. Concepts of God in Five Religious Traditions. Keith Ward. Oneworld Publications Ltd., Oxford and New York 1993. viii, 197 pp. £8.95.

Images of the human is the collective effort of thirteen philosophy professors to address the questions human beings have been asking for centuries. The book presents selections from the major works of eighteen of the best-known philosophers from ancient to modern times. Each chapter focuses on the writings of a different philosopher - from Plato to Nietzsche, Augustine to Sartre - and includes an introduction and critical comentary.

Is there a universal concept of God? Do all the great faiths of the world share a vision of the same supreme reality? In an attempt to answer these questions, Keith Ward considers the doctrine of an ultimate reality within five world religions - Hinduism, Buddhism, Islam, Judaism and Christianity. He studies closely the works of definitive, orthodox writers from each tradition - Sankara, Ramanuja, Asvaghosa, Maimonides, Al-Ghazzali and Aquinas - to build up a series of 'images' of God, (...) a common core of belief. Ward discovers that while the great religious traditions of the world retain their differences, there are convergences of thought at the deepest level, with a broad similarity of structure in concepts of God. He concludes that a recognition of these beliefs, as well as encouraging a clearer acceptance of the mystery of the divine, might also lead to an increase in understanding and tolerance of other faiths, to the enrichment of one's own. (shrink)

This article discusses the use of metaphor in human attempts to communicate religious experience and insight. In particular, it argues that, all too often, metaphors are misunderstood because they are interpreted literally. Examples of primary school children's writing are provided to illustrate the problem of literalism in religious understanding. The article concludes by recommending the extensive teaching of metaphor throughout education.

Contains contributions dealing with religious narrative and cognitive theory written by some of the world's leading scholars in the fields of cognitive science, narratology and comparative religion. This title explores the neurological processes and possible genetic foundations of how language emerged in Homo sapiens.

It is a cliché that most Greek art was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature (...) of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception , but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion. (shrink)

This article focuses on the difference between the personal God image and the God image that people perceive as normative, that is to say, the God image they believe they should have according to religious culture. A sample of 544 Dutch respondents, of which 244 received psychotherapy, completed the Dutch Questionnaire of God Images . In general, there appeared to be a discrepancy between the personal and the normative God image. Whether discrepancies were experienced as conflictive was related (...) to religious denomination and mental health. Conflictive feelings were associated with lower religious saliency and higher educational level. Moreover, they were associated with mental health per se and the interaction between mental health and denomination, with patients reporting more conflicts than normals except in the Roman Catholic and Orthodox-Reformed group, where patients and non-patients hardly differed in the experience of conflict. (shrink)

Recent functional neuroimaging data, acquired in studies of religious experience, have been used to explain and justify religion and its origins. In this paper, we critique the move from describing brain activity associated with self-reported religious states, to explaining why there is religion at all. Toward that end, first we review recent neuroimaging findings on religious experience, and show how those results do not necessarily support a popular notion that religion has a primitive evolutionary origin. Importantly, we (...) call into question an assumption—key to that account of religion—concerning a conceptual relation between 'religion' and 'religious experience'. Then, we examine the conditions that must be met in order to explain religion on the basis of brain imaging findings. Moreover, we list principled reasons to be sceptical of explanations of religion in terms of the neural underpinnings of experiences. We conclude that the data from neuroimaging studies are not suited for an explanation of religion. (shrink)

O pintor tem espaço nos retábulos maneiristas, diminuindo o seu desempenho a favor do entalhador, à medida que o programa do Barroco Nacional se impõe na arte da talha. Em Portugal, nos séculos XVII e XVIII, definem-se os ofícios com fronteiras frágeis. Entalhador pode significar escultor, imaginário ou ensamblador – assim como o dourador é mencionado, muitas vezes, como pintor e estofador, numa polivalência artística notável. Cabe ao imaginário, na gramática barroca, apropriar-se dos espaços intercolúnios, entre outros, para cumprir as (...) encomendas dos santos em concordância com as determinações do Concílio de Trento.Os inventários, as Memórias Ressuscitadas de Entre-Douro-e-Minho (Francisco Craesbeeck, 1726), as Memórias Paroquiais de 1758 (A.N.T.T.) e um levantamento fotográfico privilegiam o percurso escultórico dos oragos e das invocações retabulares de templos no Baixo Tâmega e no Vale do Sousa. Neste sentido, pretende-se desenhar uma matriz dos espécimes mais recorrentes, estabelecendo assim a mancha das devoções nacionais nos concelhos de Amarante, Marco de Canaveses, Felgueiras e Penafiel. (shrink)

Structured as a self-standing course in philosophy, this book presents and examines selections from the primary works of 18 of the best known philosophers from ancient to modern times. Each chapter focuses on the writings of a different philosopher--from Plato to Nietzsche, Augustine to Sartre--and includes an introduction and critical commentary by one of the professors.

In this study we relate four different measures: the theodicy models proposed by van der Ven, the coping strategies proposed by Pargament, a measure of positive or negative self-image and the post critical belief scales we ourselves have developed. We analysed the data of 251 Dutch-speaking Belgians. In the analysis we focus on the relation of the different measures with the post critical belief scales. Different types of believers are using different theodicy models, somewhat different coping strategies and we observe (...) some differences in self-image, where believers have a more positive self-image than non-believers. We could suggest that there is a specific theodicy model used by symbolic believers and another theodicy model used by more literal believers. The former could be interpreted as more developed and perhaps more religiously mature. (shrink)

In this study we relate four different measures: the theodicy models proposed by van der Ven, the coping strategies proposed by Pargament, a measure of positive or negative self-image and the post critical belief scales we ourselves have developed. We analysed the data of 251 Dutch-speaking Belgians. In the analysis we focus on the relation of the different measures with the post critical belief scales. Different types of believers are using different theodicy models, somewhat different coping strategies and we observe (...) some differences in self-image, where believers have a more positive self-image than non-believers. We could suggest that there is a specific theodicy model used by symbolic believers and another theodicy model used by more literal believers. The former could be interpreted as more developed and perhaps more religiously mature. (shrink)

The authors consider the relationship between knowledge and image, though multi-faceted, to be one of reciprocal dependence. But how do images carry and convey knowledge? The ambiguities of images means that interpretations do not necessarily follow the intention of the image producers. Through an array of different cases, the chapters critically reflect upon how images are mobilised and used in different knowledge practices, within certain knowledge traditions, in different historical periods. They question what we take for granted, (...) what seems evident, what goes without saying. This approach spans across established categories such as «scientific imaging», «religious images» and «artworks», and considers how images may contribute meaning across such categories. (shrink)

The barest awareness of the ubiquity and influence of the media today provides proof enough that our fate is in the hands of the image. But when and how was this fate sealed? _Image, Icon, Economy_ considers this question and recounts an essential thread in the conceptualization of visual images within the Western tradition. This book argues that the extraordinary force of the image in contemporary life—the contemporary imaginary—can be traced back to the Byzantine iconoclastic controversy of the eighth (...) and ninth centuries. It was during this period that the church was compelled to produce an account of the theological status of the religious image that would nevertheless not be open to even the slightest suspicion of idolatry. The solution arrived at was the dual doctrine of the _image_, _invisible_ and the _icon_, _visible_, and thus perfectly fitted to be placed at the center of a pedagogical and political strategy serving the temporal power of the church. The foundations of this immense philosophical enterprise were laid in no less than the multifarious, interwoven strands of the divine _economy_, God's overall plan for the salvation of humanity. (shrink)

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

Images and Power: Rock Art and Ethics addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues such (...) as the conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of "desired knowledge", and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors."--Publisher's website. (shrink)

Images That Move is concerned with how images take place in wider worlds: how they move around, via processes of transmission and uptake, but, equally importantly, how they move their audiences affectively. Images play a significant part in projects of "poetic world-making" and political transformation. They participate in the production of commensuration or of incommensurability, enact moments of prophecy or exposure, and attract or repel spectators' attention. Images move, then, but not just as they wish, and (...) any examination of images in motion must also recognise the blockages and breakdowns that prevent their movement as well as the enframings or "stickinesses" that trap them in particular places, prevent them from reaching others, or hedge their arrival in specific ways. The contributors explore topics ranging from high art to mass media, religious iconography to pornography, and popular photography to political cartoons in a range of contexts and media including photography in early twentieth century China, art and literature in contemporary South Africa, upscale real estate development in India, occult media images and the aesthetic of appearance in urban Indonesia, and film censorship in Nigeria. All of these instances of the visual continuum require different ways of highlighting and addressing the problematics of images in motion. Images That Move traces some of the tangled paths of images' travels and returns, unfolding their effects and aftereffects and scanning the diverse and variable publics-fixed or ephemeral, situated or dispersed-that these moving images call into being. Contributors: Ernst van Alphen, Christiane Brosius, Steven C. Caton, Finbarr Barry Flood, Brian Larkin, Oliver Moore, Rosalind C. Morris, Christopher Pinney, Patricia Spyer, Mary Margaret Steedly. (shrink)

This book critically reflects upon how images are mobilised within certain knowledge traditions, beyond the established categories of art, scientific visualisations and religious images. Thinking through and with images across ages, the authors seek to expand our understanding of the relationship between the visual and the epistemic.

Images of Abelard and Heloise. This chapter discusses images of Abelard and Heloise from the 12th to the 20th centuries. It observes how the controversial character of their relationship, as well as accusations of heresy made by St. Bernard have created stereotyped images of Abelard and Heloise as rebels against authority and the religious life that do not do full justice to their intellectual achievement. They were not lovers, but thinkers.

The idea of transferring and even imposing individual thoughts on others is as old as human history. Quran states that the first people were deceived by being influenced by the words of the devil. It is a known fact that the Prophet conveyed the message to guide people to the right path and was assigned to fulfill this duty. In fact, it is quite natural for this situation to happen wherever there are people. However, advances in the cultural and technological (...) fields throughout history have changed the tools used in the mentioned activities. For instance, with the ease of supply of writing materials and the developments in the field of printing, ideas were conveyed more in writing. When it comes to the modern era, visual programs have gained speed with the digital changes and transformations experienced by television, computers and the internet as their supporter. In this direction, television and subsequently digital broadcasting platforms became widespread, and with the increase in demand for digital platforms, a mandatory change was required in the media sector. Anticipating this change, Netflix is the largest digital broadcasting platform, which entered the digital broadcasting industry quickly and reached millions of subscribers. As it is known, the most important purpose of visual media civilization, if not the only one, is to obtain financial benefits. However, it is also certain that Netflix and similar companies deliberately or unintentionally impose their world of thought, ways of making sense of life, and even ideologies through their content. In this direction, TV programs, series and movies that carry religious images are given a great deal of places on digital platforms, because they attract the watchers and they have high potential to influence on them. Although, these programs sometimes lead people to reach the right information, they often cause false religious teaching to be conveyed. the Caliphate series, which is one of the most watched content on the mentioned platform in recent days and tells the drama-filled story of a family who went to Raqqa from Sweden within the borders of the so-called Islamic State, directs its viewers about Islamic teachings in various ways. In our study, Islamic images in this series will be analyzed through topics such as religious abuse and Islamophobia, and it will be focused on how digital platforms shape the perception of religion. In addition, the transformation of media and digital platforms, the compatibility of the series with its aims and objectives, and how the minds of ISIS militants overlap with the main teachings of Islam will also be touched upon. After all these, the creation of perception will be emphasized in the media sector in general, and digital platforms in particular. (shrink)

To understand the complex religious dynamics in a globalizing world, Arjun Appadurai's view on imagination as a social practice, Charles Taylor's view on social imaginaries, and John Dewey's view on moral imagination are discussed. Their views enable us to understand religious dynamics as a “space of contestation” in which secular and religious images and voices interact, argue, and clash. Imagination can be used in violent ways in service of extremist world images that spread over the (...) world by the intensive use of social media. This raises an urgent question for psychology of religion: what enables people psychologically to engage in religious pluralism, understood as negotiating and perhaps stimulating diversity in non-violent, constructive ways? It is argued that dialogical psychology helps us to understand the self as the anchor point and navigational system of the social imaginaries that are at play in religious dynamics. (shrink)

Imaging Otherness explores relationships between film and religion, aesthetics and ethics. The volume examines these relationships by viewing how otherness is imaged in film and how otherness alternately might be imagined. Drawing from a variety of films from differing religious perspectives -- including Chan Buddhism, Hinduism, Native American religions, Christianity, and Judaism -- the essays gathered in this volume examine the particular problems of 'living together' when faced with the tensions brought out through the otherness of differing sexualities, ethnicities, (...) genders, religions, cultures, and families. (shrink)

Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.

In March 2013, after reading articles about the questionable marketing styles of Victoria's Secret, targeted especially to younger demographics, Dolive penned an open letter calling for companies to not view girls as objects but as human beings. The letter came out of his desire to instill in his own daughter that love, care, and acceptance should not be based on articles of clothing. The letter was viewed nearly four million times (on his site alone) in about a week-and-a-half, and dozens (...) of other news organizations and publications picked up the story. Dolive was interviewed by national news publications and appeared on CNN and Headline News. The letter was a catalyst for conversations about body image, marketing, and how the church could affect change and confidence in people of all ages. Seeking Imperfection explores these false messages and takes a look at people from the Bible who, despite their flaws, were still able to serve God faithfully. (shrink)

Søren Kierkegaard was an almost unbelievably prolific writer. At his death he left not only a massive body of published work, but also a sprawling mass of unpublished writings that rivaled the size of the published corpus. This book tells the story of the peculiar fate of this portion of Kierkegaard's literary remains, which flowed ceaselessly from his steel pen from his late teens to a week before his death. It is the story of packets and sacks of paper covered (...) with words and images that, after a vagabond existence in various homes, finally landed at the Royal Danish Library, where they are today guarded with great care.Readers are also introduced to a selection of this enormous body of material, including drawings and doodlings that escaped from Kierkegaard's pen in unguarded moments and complement the allure of the philosopher's strikingly variable, elusive handwriting. The authors of this book are among the editors of a modern critical edition of Kierkegaard's oeuvre currently being produced in Copenhagen.By the end of his life Kierkegaard had become a controversial figure, engaged in a furious assault upon "Christendom." From the very moment of their discovery in the days following his death, the unpublished words and images constituted a highly problematic bonanza, an intellectual and religious hot potato that was passed from hand to hand, suppressed, selectively and tendentiously published and republished. Written Images offers readers a fascinating tour of the misadventures of these written images that will, finally, soon be published in their entirety. (shrink)

The latter half of the eighteenth century saw radical changes in the way nature - both external and human nature - was perceived. It is these new perceptions, these new images of the 'the natural' that this book examines: new appreciations of the 'sublime' wildness of landscape; new revelations by the life sciences of natural creative fecundity; new assertions of the innocence of 'natural man', as illustrated by the noble savage, the contented peasant, the happy family; a new sense (...) of harmony between man and nature, reflected in changing moral, psychological, economic, and religious attitudes. Professor Charlton concentrates on French examples, for in France the contrast between old and new views was particularly vivid; but there are also numerous comparisons with England and other European countries, making this a major study in the cultural history of Europe at an especially crucial time for the formation of many of our modem assumptions about man and nature. (shrink)

Book reviews: BOER, Wietse de; ENENKEL, Karl; MELION, Walter S.. Jesuit image theory. Leiden: Brill, 2016.. ISBN 978-90-04-31911-0 ISBN 978-90-04-31912-7.

Nursing is at the same time a vocation, a profession and a job. By nature, nursing is a moral endeavor, and being a ‘good nurse’ is an issue and an aspiration for professionals. The aim of our qualitative research project carried out with 18 nurse teachers at a university nursing school in Brazil was to identify the ethical image of nursing. In semistructured interviews the participants were asked to choose one of several pictures, to justify their choice and explain what (...) they meant by an ethical nurse. Five different perspectives were revealed: good nurses fulfill their duties correctly; they are proactive patient advocates; they are prepared and available to welcome others as persons; they are talented, competent, and carry out professional duties excellently; and they combine authority with power sharing in patient care. The results point to a transition phase from a historical introjection of religious values of obedience and service to a new sense of a secular, proactive, scientific and professional identity. (shrink)

La celebración de fiestas en honor a los santos patronos de las comunidades andinas es una de las manifestaciones de religiosidad más extendidas desde Colonia. Másallá de entenderla como una manifestación en continuidad directa con las prácticas cúlticas del Tawantinsuyo o la ritualidad católica española, consideramos que esta festividad es un fenómeno emergente que debe ser analizado en su especificidad. El objetivo de este artículo es analizar la figura del santo y su eficacia simbólico-ritual en la fiesta patronal andina desarrollada (...) durante el periodo colonial (XVI-XVII). A partir del análisis de una serie de crónicas coloniales, intentaremos mostrar que las especificidades rituales de la fiesta y de la operación del santo como símbolo icónico dominante permiten comprender su eficacia simbólica, así como también la co-existencia de diversas interpretaciones y escenificaciones rituales que darían cuenta de la agencialidad ritual de la comunidad. The celebration of festivities in honor of the patron saints of the Andean communities is one of the most widespread manifestations of religiosity from the Colony. Beyond understood as a manifestation in direct continuity with the cultic practices of the Catholic ritual Tawantinsuyo or Spanish, we believe that this festival is an emerging phenomenon that must be analyzed in its specificity. The aim of this paper is to analyze the figure of the saint and their efficacy in symbolic ritual Andean fiesta developed during the colonial period (XVI-XVII). From the analysis of a series of colonial chronicles, try to show that the specific rituals of celebration and operation saint as provide insight dominant iconic symbol symbolic effectiveness, as well as the co-existence of different interpretations and stagings rituals give account of agency community ritual. (shrink)

Originally published in 1984, The Image of the Middle Ages in Romantic and Victorian Literature looks at the impact of medievalism in the 18th and 19th centuries and the importance of post-Enlightenment literary religious medievalism. The book suggests that religious medievalism was not a superficial cultural phenomenon and that the romantic spirit with which it was chronologically connected, was intimately associated with the metaphysical. The book suggests that this belief gave birth to the metaphysical yearning and cultural expression (...) of the eighteenth and nineteenth century. The book seeks to clarify the post-Enlightenment relationship between aesthetic culture and 'aesthetic' religion, romanticism, medievalism and religious trends. (shrink)

Søren Kierkegaard (1813-55) was an almost unbelievably prolific writer. At his death he left not only a massive body of published work (25 volumes in the recently completed Princeton University Press edition), but also a sprawling mass of unpublished writings that rivaled the size of the published corpus. This book tells the story of the peculiar fate of this portion of Kierkegaard's literary remains, which flowed ceaselessly from his steel pen from his late teens to a week before his death. (...) It is the story of packets and sacks of paper covered with words and images that, after a vagabond existence in various homes, finally landed at the Royal Danish Library, where they are today guarded with great care. Readers are also introduced to a selection of this enormous body of material, including drawings and doodlings (often human profiles with high foreheads) that escaped from Kierkegaard's pen in unguarded moments and complement the allure of the philosopher's strikingly variable, elusive handwriting. The authors of this book are among the editors of a modern critical edition of Kierkegaard's oeuvre currently being produced in Copenhagen. By the end of his life Kierkegaard had become a controversial figure, engaged in a furious assault upon "Christendom." From the very moment of their discovery in the days following his death, the unpublished words and images constituted a highly problematic bonanza, an intellectual and religious hot potato (or sack of potatoes) that was passed from hand to hand, suppressed, selectively and tendentiously published and republished. Written Images offers readers a fascinating tour of the misadventures of these written images that will, finally, soon be published in their entirety. (shrink)

Developing work in the theories of action and explanation, Eldridge argues that moral and political philosophers require accounts of what is historically possible, while historians require rough philosophical understandings of ideals that merit reasonable endorsement. Both Immanuel Kant and Walter Benjamin recognize this fact. Each sees a special place for religious consciousness and critical practice in the articulation and revision of ideals that are to have cultural effect, but they differ sharply in the forms of religious-philosophical understanding, cultural (...) criticism, and political practice that they favor. Kant defends a liberal, reformist, Protestant stance, emphasizing the importance of liberty, individual rights, and democratic institutions. His fullest picture of movement toward a moral culture appears in Religion within the Bounds of Mere Reason, where he describes conjecturally the emergence of an ethical commonwealth.Benjamin defends a politics of improvisatory alertness and consciousness-raising that is suspicious of progress and liberal reform. He practices a form of modernist, materialist criticism that is strongly rooted in his encounters with Kant, Hölderlin, and Goethe. His fullest, finished picture of this critical practice appears in One-Way Street, where he traces the continuing force of unsatisfied desires.By drawing on both Kant and Benjamin, Eldridge hopes to avoid both moralism and waywardness. And in doing so, he seeks to make better sense of the commitment-forming, commitment-revising, anxious, reflective and sometimes grownup acculturated human subjects we are. (shrink)

The article explores the religious and philosophical origins of Volodymyr Vynnychenko’s ideas of “honesty with oneself,” “omnilateral liberation,” and “concordism.” Two treatises, Vidrodzhennia natsii (Rebirth of a Nation, 1919–1920) and Konkordyzm. Systema buduvannia shchastia (Concordism. A System of Building Happiness, 1938–1945), illustrate the development of Vynnychenko’s worldview. In the first work, social revolution was considered as the answer to human problems, while, in the second, such a solution was found in becoming one with the universe. Despite his negative attitude (...) towards religion, Volodymyr Vynnychenko actively used religious images and patterns in his writings. For instance, criticizing Christianity for its dogmatism, he nevertheless created his codex of thirteen rules of concordism, which had to harmonize the unbalanced forces of mankind with the universe. In this context, particular attention is paid to the significant influence of pagan concepts on Vynnychenko’s thinking. (shrink)

The article describes Mieczysław Albert Krąpiec's perspective on four classic philosophical images of man and the resulting theoretical and practical implications for the nursing profession. The first three images, namely man as a set of elements, man as a soul imprisoned in the body and man as a rational animal, are regarded by Krąpiec as reductionist anthropologies and are thus inadequate for nursing. The first image reduces man to a biological element. The second one reduces man to a (...) soul and treats a body as something an obstacle in personal development. The third image absolutizes reason in man. While the body is not rejected in this image, it is viewed as an indifferent mass. The last image, which regards man as a person, is an adequate image for nursing. The exceptional character of man emphasized in this image is determined by the following personal qualities: the ability for cognition, freedom, love, religiousness, dignity, subjectivity to law and completeness. These characteristics reveal the specificity of personal being in both the body and the spirit. By viewing man as a person, a nurse discovers a wide range of possibilities of providing effective help to the patient. (shrink)