Usually, humor is not theorized specifically, but identified with the comic and laughter. This paper deals with the internal logic of humorous operations in the context of Freud's writings on humor, in order to make them productive for medial anthropology. Unlike conventional anthropologies, medial anthropology is interested in the ontologizing effects of operations that can be understood in a technical way. Correspondingly, humoresque operations are to be studied anew as techniques of the Dionysian connection of pleasure and reality principle. German (...) Humor wird gemeinhin nicht eigens theoretisiert, sondern umstandslos mit dem Komischen und dem Lachen identifiziert. In diesem Aufsatz geht es darum, die Eigenlogik von humoresken Operationen vor dem Hintergrund von Freuds Auslassungen zum Humor herauszuarbeiten und für eine mediale Anthropologie produktiv zu machen. Im Unterschied zu herkömmlichen Anthropologien interessiert sich eine mediale Anthropologie für die ontologisierenden und wirklichkeitskonstituierenden Effekte technisch zu fassender Operationen. Humoreske Operationen sind entsprechend als Techniken der dionysischen Verschaltung von Lust- und Realitätsprinzip neu zu beleuchten. (shrink)

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, (...) however, the neighbourhood has become a place with bad reputation, “a den of thieves”. The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship. (shrink)

Here, I should like to tell a story, beginning with how the works of Aristotelian philosophy came to exist in Latin translations, then moving to the project of transforming Christian theology into an Aristotelian “science.” After that, I would like to look a bit more closely at the case of Br. Thomas of Aquino and his dependence upon the Muslim philosopher Ibn Sīnā . Finally, I shall end by drawing some wider conclusions based upon this important example.

논문에서는 19-20세기 초 영남 지역의 유림이 기독교를 수용해서 성경을 해석하고 적용하는 과정에 관한 논의를 통해서 다문화사회의 상생적 다원주의를 모색하고자 하였다. 우선, 이 논의에서는 영남 지역 유림이 기독교를 수용하는 과정을 논의했다. 영남 지역 유림은 이전에 유학 경전을 읽으면서 묵상하는 공부 방법에 익숙하였기 때문에 기독교의 성경을 쉽게 접할 수 있었다. 그들은 개인의 종교적 구원을 얻기 위한 것이 아니라 민족 독립과 부국강병을 실현할 목적으로 기독교에 입교하였다.BR 영남 지역에 기독교인의 성경 해석을 논의하였다. 성경은 인류의 보편적인 의미를 담고 있지만 그 성경을 읽는 독자에 따라 다양하게 (...) 해석된다. 안동 지역 목회자 성경에서는 유학적 요소가 발견된다. 그래서 논문에서는 영남 유학을 퇴계학과 남명학을 구분하고, 두 학파의 학풍이 영남 지역 기독교에 영향을 미쳤는지를 논의했다. 퇴계학풍은 안동 지역 기독교인에게 개방적이고 포용적인 태도를 심어 주었으며, 남명학풍은 경남 지역 기독교인이 현실과 타협하지 않는 투철한 신앙심을 갖는데 영향을 주었다. 퇴계와 남명의 학풍 차이는 해방 이후 신사참배 청산 문제에 대한 입장에서도 나타난다.BR 위의 논의를 통해서 영남 지역 초기 기독교에서는 유학적 에토스와 가치와 성경이 결합되어 있음을 알 수 있다. 그래서 영남 지역 초기 기독교는 정통기독교와는 다를 뿐만 아니라 정통 유학과도 다른 새로운 형태의 기독교로 이해할 수 있다. 안동 초기 기독교 역사에서는 기독교와 유학이 대립하지 않고, 서로의 장단점을 보완하면서 전개될 수 있었다. 우리는 이들의 기독교를 ‘유학-기독교’라고 칭할 수 있으며, 안동 지역의 유학-기독교는 다문화시대의 종교를 이해하는데 사상적 자원을 제공해 줄 수 있다. (shrink)

Here, I should like to tell a story, beginning with how the works of Aristotelian philosophy came to exist in Latin translations, then moving to the project of transforming Christian theology into an Aristotelian “science.” After that, I would like to look a bit more closely at the case of Br. Thomas of Aquino and his dependence upon the Muslim philosopher Ibn Sīnā. Finally, I shall end by drawing some wider conclusions based upon this important example.

Here, I should like to tell a story, beginning with how the works of Aristotelian philosophy came to exist in Latin translations, then moving to the project of transforming Christian theology into an Aristotelian “science.” After that, I would like to look a bit more closely at the case of Br. Thomas of Aquino and his dependence upon the Muslim philosopher Ibn Sīnā. Finally, I shall end by drawing some wider conclusions based upon this important example.

In lieu of an abstract, here is a brief excerpt of the content:On Buddhist-Christian Studies in Relation to DialogueFrancis V. TisoIn taking on the task of co-editing Buddhist-Christian Studies, it would seem appropriate to provide some background by way of introduction. Being a disciple of Brother David Steindl-Rast, O.S.B., a man who refuses to sign his name with capital letters, since the late 1960s, it goes against my grain to write too much about myself. Therefore, the following comments are meant (...) also to serve as a foreword to the current issue.My own background in Buddhist-Christian studies has its roots in ongoing collaboration with Br. David, who will be remembered for his decades-long study of Zen and his affectionate rapport with the San Francisco Zen Center community, among others. I later studied interreligious dialogue and its theological implications with George Rupp and Harvey Cox at Harvard Divinity School. In order to let my studies sink their roots into contemplative soil, I served as Br. David's assistant at the Benedictine Grange and then went on to edit theological books at the Seabury Press in New York. Thanks to the kindness of the late and revered Alex Wayman, I was able to complete a doctorate in Buddhist Studies at Columbia University and Union Theological Seminary, where I gained some ability to work with Pali, Sanskrit, and Tibetan. I sought additional tutorial guidance from José Pereira of Fordham University, a polymath scholar deeply appreciated for his extraordinary ability to introduce students to the intricacies of Sanskrit literature. Our lengthy conversations about the Baroque Scholastic Catholic theologians formed my eagerness to welcome at least three of the articles in the current issue of BCS. After the doctorate, I continued to pursue study and contemplative practice in Europe and Asia, developing collegial friendships, especially with members of the International Association for Tibetan Studies. In 2003, M. R. John C. Wester, auxiliary bishop of San Francisco, asked me to participate in the Northern California Zen/Ch'an–Catholic Dialogue that had arisen from earlier dialogue programs in various monastic milieux such as Gethsemane and New Camaldoli. In the context of that dialogue, I was asked to serve the United States Conference of Catholic Bishops as associate director of the Secretariat for Ecumencial and Interreligious Affairs in Washington, DC, in 2004.Given this ongoing interplay in my own life between scholarly research and contemplative [End Page iii] practice, it is my hope that BCS will continue to nurture the same interests in its readership. Good scholarship and commitment to the goals of spiritual inquiry should also enrich the dialogue between Buddhists and Christians in various parts of the world. In a recent publication,1 Taigen Dan Leighton describes Dogen's methods with regard to reading: "So in addition to just reading through this material, the student of Zen may likely want to chew slowly at times, find pieces that are especially provocative, stimulating, or unsettlingly challenging, and take a while to consider, reflect, and digest." This is exactly what the Christian contemplative does in lectio divina. Moreover, to persons inclined to this kind of inquiry, even scholarly research gives rise to creative and, at times, truly contemplative insight. Thus even a journal committed to scholarship might find comfort in the "apophatic" methods of Buddhist or Christian contemplatives. Taigen reminds us that Zen sitting practice (zazen) is not the suppression of content. In fact, understanding is expected:Dogen is clearly not recommending zazen as mere blank, mindless sitting. Although he frequently criticizes practice concerned with achievement, or with reaching for particular schematized stages of development, Dogen regularly asks his monks if they thoroughly understand. He is suggesting a practice that is informed by intense inquiry into the ancient teachings, sayings, and dialogues, as well as into our present immediate experience. Throughout formal meditation as well as in our everyday activity, Dogen encourages vivid attention and awareness.In practice, this is nothing less than the interactive application of the principles of the great teachings on emptiness. As a method, the philosophical analysis of emptiness came to have an enormous impact on the Ch'an and Zen traditions; it was a method of "negation" in the sense that it could be... (shrink)

이 글의 주된 목표는 종교적 행위로서의 기독교 방언을 비트겐슈타인의 시각으로 문법적 탐구를 해 보는데 있다.BR 방언은 사적언어는 아니지만, 그것은 겉보기에 사적언어와 매우 유사한 측면들을 보여준다는 점에서 언어의 본성에 관한 중요한 통찰력을 보여 준다. 그래서 방언을 사적언어로 간주하여 그와 관련된 여러 논의들을 결부시켜 살펴본다.BR 기독교의 방언에 관한 논의는 철학적 논의와 신학적 논의로 나누어 살펴볼 수 있다. 전자는 방언이 하나의 언어로서 성립 가능하냐는 문제, 즉 만일 방언이 다른 사람들이 알아들을 수 있는 공적역할을 하지 못한다면 그것은 사적언어에 해당되는 것이 아니냐 하는 문제가 논의의 (...) 초점이 되고, 후자는 오늘날 많은 기독교인들이 행하고 있는 방언이 성경에 나타난 그 방언인지 아닌지의 문제, 다시 말해 방언의 “지속과 단절”의 문제로 요약된다. 그러나 이 두 논의는 비트겐슈타인의 시각에서 보자면, 문법적 차이의 문제를 간과한 것으로 그 물음자체가 의미가 없다. 궁극적으로 ‘방언’이라는 종교언어놀이는 일상 언어놀이와는 구별되는 것이고, 삶의 형태가 각각 그 나름의 논리를 지니고 있다는 점에서 분명한 차이가 있다. 비트겐슈타인이 말하는 종교문법은 이성적 추론이나 근거에 호소하는 것이 아니라, 종교적 표현들과 행위들에 근거한다. 그래서 방언은 본능적인 종교행위로, 즉 복잡다양한 우리의 언어놀이 이전의 원형적인 것으로, 전언어적인 것으로, 그리고 무엇보다도 ‘종교적 언어화 된 것’이다. 이것은 특별한 종류의 견해 혹은 믿음을 나타내는 행위로 중요한 것이며, 신을 향한 믿음의 표현임과 동시에 신자의 삶의 의미를 드러내 보인다는 점에서 가치 있는 것이다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Conversion and Religious Identity in Buddhism and ChristianityJohn D'Arcy MayA Benedictine abbey that has been involved in exchanges with Buddhist monks since 1979 was an appropriate setting for serious discussion of double identity and change of identity between Buddhists and Christians. The European Network holds its conferences every two years, and after experiencing the Benedictine hospitality of St.Ottilien once again it was decided that every second conference should be (...) held here in the future, with the intervening ones in different centers throughout Europe. Br.Josef Götz OSB introduced the conference by telling the story of the intermonastic encounters with monks of the Soto, Rinzai, and Shingon traditions over the last twenty-five years at St. Ottilien. Participants in these agreed that they had never learned so much about their own traditions as when they were engaged in dialogue at a spiritual and experiential level with their monastic "others." One Zen monk told the Benedictines, "Working with your carpenter, I understand Christianity," and another asked for baptism in order to participate more fully in the liturgy.The situation in the Buddhist countries of Asia, however, is not necessarily so harmonious, as reports by Fr. Thomas Timpte OSB from Korea and Dr. Elizabeth Harris from Sri Lanka made clear. Just to hear about the religious situation in South Korea, the "great unknown" of East Asian Buddhism, was worthwhile. Though four traditions—Shamanism, Buddhism with elements of Daoism, Confucianism, and Christianity—coexist largely peacefully, the advent of Christianity caused tensions arising from both persecutions and conversions. Though many Koreans would find no contradiction in being both Confucianist (at least in a cultural sense) and Christian, Buddhism itself is coming to be seen as a cultural phenomenon, and those earnestly seeking peace of heart turn to Christianity. Almost half the members of [End Page 189] parliament are either Catholic or Protestant, though there is little evidence of Christian ethics in political practice. Nevertheless, Buddhism is now the fastest-growing religion, as Catholics in particular find themselves attracted to the temple environment, which is experienced as "a kind of homecoming." "Christian in the head, Shamanist in the belly, Buddhist in the heart," though a simplification, sums up the situation.In Sri Lanka, on the other hand, things are considerably more fraught, and with the passage of anticonversion legislation the conference theme of conversion and identity is a charged topic. Elizabeth Harris illustrated the lengths to which certain Christians are prepared to go to win converts, such as working the camps of tsunami survivors. Though British evangelical missionaries had originally been afforded remarkable hospitality by the Buddhists—even being invited to preach in temples —their insistence that if Christianity is right, Buddhism must be wrong polarized relations, and the great public debate of 1815 still sets a precedent. Thus even for contemporary Christian inheritors of the fusion of the European Enlightenment with evangelical Christianity, both the conviction of sin and rational argument assure the superiority of Christianity. In the ethnic conflict presently raging, the religions are "not innocent," with Tamils and Christians being conflated into the "other" against which Sinhalese antipathy is directed. This is all the more tragic in that most Sri Lankan Buddhists accept the traditional ethic of tolerance.Jørgen Skov Sørensen and Kajsa Ahlstrand illuminated the religious situation in Scandinavia from different perspectives. Sørensen reflected on the "soft boundaries" that actually exist in many pluralistic societies, something that puzzled both civil servants and missionaries even in colonial India. There is a danger that contemporary Christians will try to impose the same unambiguous boundaries on postmodern Europe as they did in their former colonies. Ahlstrand's report on an empirical study done in Sweden showed how unrealistic this is. Dual identity as both Buddhist and Christian was more common than complete identification with either, and 42 percent of those who identified completely with Christianity said they did not believe in God!The centerpiece of the conference was a vigorous debate between Paul Williams, a prominent British Buddhist and professor of Indian and Tibetan philosophy who announced his conversion to Catholicism in a provocative book, The Unexpected Way, and two protagonists who disagreed with his reasoning from... (shrink)

한국 사회는 다문화사회로 진입하면서 절대적 삶의 기준으로 제시되는 종교적 가치체계와 사상은 다문화사회의 현실 속에서 통섭과 공존의 지혜를 요구하고 있다. 이러한 요구에 호응하기 위해서는 특정한 종교나 사상에 근거한 인성교육에서 벗어나 각 종교의 정체성을 훼손하지 않으면서도 타 종교를 수용하고 공존할 수 있는 다문화 융합의 인성교육 모형을 정립할 필요가 있다. 이를 위해서 영남지역 초기 기독교인을 주목하고자 한다.BR 영남지역 초기 기독교인은 유교와 기독교의 경계 지점에 처했던 종교인이다. 그들은 유학을 공부하다가 기독교로 개종하긴 했지만, 유교와 기독교의 경계를 넘나들면서 양자 간의 대화와 소통을 시도했다. 그들의 신앙고백문, 성경번역, (...) 성경해석을 중심으로 선비-크리스천이 추구해야 할 인간상을 모색해 보고자 했다.BR 선비 크리스천들의 성서 해석에 담긴 유교적 요소와 기독교 성서신학의 주석 작업을 비교 연구함으로써 선비 크리스천들의 성서 해석에 담긴 특성을 추출하고자 하였다. 이러한 작업을 통해서 유교와 기독교가 만날 수 있는 지평을 마련한 후에 선비-크리스천 인성교육프로그램 개발의 가능성을 논의하였다.BR 논문에서는 유교의 도덕성과 기독교의 영성을 결합한 ‘선비-크리스천 인성교육’을 논하였다. 선비 크리스천 인성교육은 유교의 도덕 교육의 철학적 기반과 기독교의 영성 교육의 종교적 기반에 근거한 인성교육을 말한다. 특히 다양한 맥락에 따라 추구해야 하는 올바른 관계윤리에 집중된 유교 도덕성과 주체적 행위자로서의 참된 ‘나’를 추구하는 기독교 영성의 융합은 인성교육에 있어서 상당한 시너지 효과를 거둘 수 있을 것이다. 논문에서는 유교의 도덕성 함양을 목적으로 하는 인성교육의 한계를 기독교의 영성으로 보완하고, 기독교 영성에 근거한 인성교육의 한계를 유교의 도덕성에 근거해 보완하고자 하였다. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Conversion and Religious Identity in Buddhism and ChristianityJohn D'Arcy MayA Benedictine abbey that has been involved in exchanges with Buddhist monks since 1979 was an appropriate setting for serious discussion of double identity and change of identity between Buddhists and Christians. The European Network holds its conferences every two years, and after experiencing the Benedictine hospitality of St.Ottilien once again it was decided that every second conference should be (...) held here in the future, with the intervening ones in different centers throughout Europe. Br.Josef Götz OSB introduced the conference by telling the story of the intermonastic encounters with monks of the Soto, Rinzai, and Shingon traditions over the last twenty-five years at St. Ottilien. Participants in these agreed that they had never learned so much about their own traditions as when they were engaged in dialogue at a spiritual and experiential level with their monastic "others." One Zen monk told the Benedictines, "Working with your carpenter, I understand Christianity," and another asked for baptism in order to participate more fully in the liturgy.The situation in the Buddhist countries of Asia, however, is not necessarily so harmonious, as reports by Fr. Thomas Timpte OSB from Korea and Dr. Elizabeth Harris from Sri Lanka made clear. Just to hear about the religious situation in South Korea, the "great unknown" of East Asian Buddhism, was worthwhile. Though four traditions—Shamanism, Buddhism with elements of Daoism, Confucianism, and Christianity—coexist largely peacefully, the advent of Christianity caused tensions arising from both persecutions and conversions. Though many Koreans would find no contradiction in being both Confucianist (at least in a cultural sense) and Christian, Buddhism itself is coming to be seen as a cultural phenomenon, and those earnestly seeking peace of heart turn to Christianity. Almost half the members of [End Page 189] parliament are either Catholic or Protestant, though there is little evidence of Christian ethics in political practice. Nevertheless, Buddhism is now the fastest-growing religion, as Catholics in particular find themselves attracted to the temple environment, which is experienced as "a kind of homecoming." "Christian in the head, Shamanist in the belly, Buddhist in the heart," though a simplification, sums up the situation.In Sri Lanka, on the other hand, things are considerably more fraught, and with the passage of anticonversion legislation the conference theme of conversion and identity is a charged topic. Elizabeth Harris illustrated the lengths to which certain Christians are prepared to go to win converts, such as working the camps of tsunami survivors. Though British evangelical missionaries had originally been afforded remarkable hospitality by the Buddhists—even being invited to preach in temples —their insistence that if Christianity is right, Buddhism must be wrong polarized relations, and the great public debate of 1815 still sets a precedent. Thus even for contemporary Christian inheritors of the fusion of the European Enlightenment with evangelical Christianity, both the conviction of sin and rational argument assure the superiority of Christianity. In the ethnic conflict presently raging, the religions are "not innocent," with Tamils and Christians being conflated into the "other" against which Sinhalese antipathy is directed. This is all the more tragic in that most Sri Lankan Buddhists accept the traditional ethic of tolerance.Jørgen Skov Sørensen and Kajsa Ahlstrand illuminated the religious situation in Scandinavia from different perspectives. Sørensen reflected on the "soft boundaries" that actually exist in many pluralistic societies, something that puzzled both civil servants and missionaries even in colonial India. There is a danger that contemporary Christians will try to impose the same unambiguous boundaries on postmodern Europe as they did in their former colonies. Ahlstrand's report on an empirical study done in Sweden showed how unrealistic this is. Dual identity as both Buddhist and Christian was more common than complete identification with either, and 42 percent of those who identified completely with Christianity said they did not believe in God!The centerpiece of the conference was a vigorous debate between Paul Williams, a prominent British Buddhist and professor of Indian and Tibetan philosophy who announced his conversion to Catholicism in a provocative book, The Unexpected Way, and two protagonists who disagreed with his reasoning from... (shrink)

Traditionally, the Christian doctrine of heaven has implied that the human agents that exist there will be exceptionally moral. More than this, there appears to be a consensus that heavenly agents are so morally upright as to be considered morally perfect. However, there has been some kickback to this idea of moral perfection, and whether it is a possibility for contingently existing agents. The primary goal of this thesis is to defend the view that moral perfection in heaven is possible (...) if understood from an Aristotelian or neo-Aristotelian virtue account. My secondary goals are to show that the process of perfecting agents requires some form of temporal extension, does not require a traditional form of character development to maintain the agent’s free will, and allows for the possibility of moral growth after the status of perfection has been attained. (shrink)

이 글은 야콥 타우베스의 보편주의적 바울 해석이 지향하는 정치신학적 테제를 밝히고 그 의미를 생각해보는 데 그 목적이 있다. 타우베스가 지향하는 ‘보편주의’는 예외상태를 결정하는 주권자의 정의에 근거하고 있다. 그러나 적과 동지로 구분하는 슈미트와는 타우베스는 사랑으로 적과 하나가 되는 공동체를 지향한다. 타우베스는 프로이트의 유일신교에 대한 독해를 통하여 정치신학자로서 바울의 면모를 발굴한다. 프로이트는 바울이 유대교의 ‘파괴자’인 동시에 ‘계승자’라는 측면을 중시하여, 자신의 ‘아버지 종교’ 이론을 정당화하는 데 적극 활용한다. 프로이트는 바울이 아버지(하느님)의 살해에 대한 죄책감(원죄)을 강조한 데서 그의 천재성을 발견하였다.BR 타우베스는 바울이 유대인 그리스도교인들의 권력 (...) 주장을 해체하여 바울 자신의 사도직에 대한 정당성을 확립했을 뿐만 아니라, 로마제국의 법적 질서를 폐기하는 선언을 한 것으로 평가하였다. 이런 사실에서 타우베스는 프로이트의 역할 모델이 모세가 아닌 바울이었다고 주장한다. 타우베스는 이러한 자기주장을 정당화하기 위하여 바울에서 자기 자신에까지 이르는 정치신학자들을 연결하는 선線을 구상하였는데 마르치온, 스피노자, 루터, 니체, 프로이트, 벤야민, 슈미트, 타우베스, 아스만까지를 그려 놓았다. 여기에서 매우 중요한 사실은 벤야민과 슈미트가 개념화한 ‘정치신학’인데, 타우베스가 이해하는 바울의 ‘보편성’은 바로 정치신학적 맥락에서만 생각할 수 있는 것이다. 그것은 ‘주권자’, 즉 ‘예외상태를 결정하는 자’만이 ‘법 파괴적 폭력’과 ‘법 정초적 폭력’을 동시에 작동시킬 수 있기 때문이다.BR 타우베스는 모세가 하느님의 진노로부터 유대백성들을 구하기 위해 스스로 자신의 죄를 청하는 기도 의식이었던 욤-키푸르Jom-Kippur 전례의 의미를, 이방인 선교를 위해서 유대인들의 율법 체계를 넘어서야 하는 바울의 상황에 똑같이 적용하였다. 바울은 ‘하느님의 분노’를 지양하기 위하여 ‘하느님의 영’를 제시하고, 이를 바탕으로 ‘하느님의 나라’를 세울 수 있는 ‘범 이스라엘’의 구원을 가능하게 하였다. 타우베스의 해석은 바울이 ‘교회의 적’으로 선언한 이스라엘인들이 왜, 그리고 어떻게 다시 돌아와서 하느님의 나라에 참여하는가를 설득력 있게 보여주고 있다. (shrink)

The PDF uploaded is ENTIRELY different from the two links provided. Please download the PDF and then read the given links. This has NOTHING to do with philosophy or literature. This is being put up here in the memories of Bro. Cal Whiting cfc and Fr. Larry Abello SJ. This is more of a record for those interested. The full names of the Christian Brother from Australia is Br Robert Cataldus Whiting who is also mentioned among notable Christian Brothers in (...) the Christian Brothers' Wikipedia page. Further, Fr. Abello's full name was Fr. Lawrence Abello Ph.D. I have written about both of them in Indian Catholic Matters. This has been published in The Herald. The links added are to Indian Catholic Matters. The PDF uploaded is entirely different. -/- Then read the first link on the Church's position on the indissolubility of marriage. (shrink)

기독교에서 ‘말씀’은 하나님의 지위와 동등한 지위를 갖는다. 한글 단어 말씀은 따라서 단순히 한자말 ‘언어’ 이상의 의미를 갖는다. 성경에서 ‘말씀은 곧 하나님, 진리, 생명 이다.’라는 표현에서 알 수 있듯이, 말씀은 여러 뜻을 품고 있다. 그러나 기독교 역사의 맥락에서 말씀은 많은 오해와 왜곡이 있어왔을 뿐만 아니라, 특히 한국 기독교회 내에서는 권위주의에 영합된 말씀의 용법이 자의적으로 사용되고 이해되어 교회의 제도와 삶을 일그러뜨리고, 이로 인해 이제는 신앙생활은 비 신도들에게 비난받는 정도에까지 이르렀다. 만일 이런 일이 계속 방치된다면, 기독교는 한국사회에서 불원간 퇴출될지도 모른다.BR 그러나 말씀의 의미를 (...) 제대로 규명하여 교회가 본래의 모습을 되찾는다면, 현재의 기독교적 위기를 극복하고, 훼손된 이미지를 회복하며, 역사상 보였던 기독교의 긍정적 기여를 이어갈 수 있을 것이다. 본 논문에서 필자는 말씀의 참된 함의를 회복하는 방법으로 여러가지 측면에서 철학적 재고의 작업을 시도하려고 한다. 크게 보아 말씀을 철학의 개념적인 방법론으로 읽어낼 때 바람직한 말씀의 위상회복의 싹을 틔우리라고 필자는 기대하고 있다.BR 첫째로 말씀은 그것은 일상 언어적 의미로 다양한 활용을 드러낸다. 둘째로 그것은 다양한 형태의 속성을 드러내는 존재론적 의미를 갖는다. 셋째로 말씀은 인식론적으로 접근할 수 있다. 넷째로 그것은 가치론적으로 해석될 수 있다.BR 이렇게 보면 말씀이란 단순히 단칭지시적인 차원이상의 다양한 형태를 갖는, 복합적 해석의 층위를 가진 표현이다. 이런 말씀의 다차원적 함의의 가능성을 개발하면서, 그것의 구체적인 관점을 취해서 해석한다면, 이로써 우리는 말씀의 긍정적 심오함을 밝혀낼 수 있다. (shrink)

Ray Kurzweil and others have posited that the confluence of nanotechnology, artificial intelligence, robotics, and genetic engineering will soon produce posthuman beings that will far surpass us in power and intelligence. Just as black holes constitute a ldquo;singularityrdquo; from which no information can escape, posthumans will constitute a ldquo;singularity:rdquo; whose aims and capacities lie beyond our ken. I argue that technological posthumanists, whether wittingly or unwittingly, draw upon the long-standing Christian discourse of ldquo;theosis,rdquo; according to which humans are capable of (...) being God or god-like. From St. Paul and Luther to Hegel and Kurzweil, the idea of human self-deification plays a prominent role. Hegel in particular emphasizes that God becomes wholly actualized only in the process by which humanity achieves absolute consciousness. Kurzweil agrees that God becomes fully actual only through historical processes that illuminate and thus transform the entire universe. The difference is that for Kurzweil and many other posthumanists, our offspringmdash;the posthumansmdash;will carry out this extraordinary process. What will happen to Home sapiens in the meantime is a daunting question.br /br /. (shrink)

In my first year at the Graduate Theological Union (Berkeley); I was required to read Oscar Cullmann's <b> Immortality of the Soul or the Resurrection of the Dead? </b> (1956). I was shocked and dumbfounded by what I discovered. Giving my religious instruction under the guidance of the Ursuline nuns at Holy Cross Grade School, it never entered my mind that Jesus did not believe that every person had an immortal soul that survived the death of the body. After a (...) single reading, however, I suddenly realized that Jesus never endorsed the immortality of the soul. I suffered a crisis of faith--I realized that my Catholic upbringing had been contaminated by dubious ideas that originated with Socrates.<br> More recently, the international NT scholar and Bishop N.T. Wright has challenged the Christian churches to drop Socratic ideas and to return to the faith of Jesus:<br> <quote>Mention salvation, and almost all Western Christians assume that you mean going to heaven when you die. But a moment’s thought, in the light of all we have said so far, reveals that this simply cannot be right. . . . If God’s good creation—of the world, of life as we know it, or our glorious and remarkable bodies, brains, and bloodstreams—really is good . . . , then to see the death of the body and the escape of the soul as salvation is not simply slightly off course, in need of a few subtle alterations and modifications. It is totally and utterly wrong! </quote> In my article, I use my personal story to illustrate how Socratic doctrines had distorted my faith in Jesus. I use my training in historical theology to illustrate (a) how Socrates became the patron saint of the Church Fathers; (b) how Jesus' mission in Hades expanded during the first three centuries; and (c) how Hades began as a cool place where the souls of saints and sinners resided together and ended up as a hot place where grave sinners were eternally tormented. Along the way, I show how Socrates failed to resolve key issues such as (a) whether the soul survives death; (b) whether communication between souls is even possible after death; and (c) whether souls in the heavenly realm are locked in a permanent coma. In brief, I supply N.T. Wright with massive evidence of just how "utterly wrong" the "going to Heaven" movement has been.<br><br> Note: I just finished this paper and hope to publish it. Any help you can give me to improve its readability or content, would be appreciated. (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)

Este estudo é uma reflexão sobre o discurso e a prática nas comunidades Eclesiais de Base no Brasil e na Itália. Buscamos demonstrar, a partir de uma pesquisa empírica e teórica, as relações entres duas Comunidades Eclesiais de Base, a Comunidade San Paolo (Roma-IT) e a Prelazia de São Félix (Mato Gross-BR), demonstrando que estas baseiam-se em dois elementos: resultam das discussões advindas do Concílio Vaticano II e estão fortemente ligadas a seus líderes. E, ainda, que tais comunidades ligam-se por (...) fortes laços simbólicos. Este fato permitiu-nos concluir que a Teologia da Libertação empenhou-se em promover mudanças sociais e em criar um corpo simbólico que a corroborasse. Tais análises foram sustentadas pela teoria da transformação social de Max Weber e, ainda, pelos estudos de Karl Mannheim e de Glock e Stark. Palavras-chaves : Transformação social, Teologia da Libertação, prática, discurso.This study is a reflection of the discourse and practice on the Basic Ecclesial communities in Brazil and Italy. We try to show, from an empirical and theoretical research, the relations between two Christian Base Communities: the San Paolo Community (Rome – IT) and the Prelature of São Félix (BR – Mato Grosso), based on two factors: the result of discussions arising out of Vatican II, and the strong link to its leaders. Such communities bind by strong symbolic ties that really allowed us to conclude that Liberation Theology endeavored to promote social changes and to create a symbolic body that corroborates it. Such analysis was supported by the theory of social transformation of Max Weber, by the studies of Karl Mannheim and Glock and Stark. Keywords : Social Transformation; Liberation Theology, Practice, Discourse. (shrink)

Appropriate philosophical language for describing the nature of God took almost two millennia to develop. Parmenides first discovered the language of being. Plato then distinguished the world of changing beings from the world of true being and also from the good “beyond being.” He refused to use being language for the Olympic gods. Aristotle understood a god as a substance (oujsiva). Avicenna described God, not as a substance but as “being,” which transcends thecategories, including substance. For Br. Thomas of Aquino, (...) God was no longer an Aristotelian substance, nor even an Avicennian “necessary being,” but is bestdescribed as “subsistent being itself ” (ipsum esse subsistens). Here the Christian disciple brought to an even higher level of perfection the achievements of his Islamic master, achievements that far surpassed their beginnings in Parmenidean monism. (shrink)

The authors compare the levels of religiosity of the citizens of Russia and citizens of European countries. The level of religiosity in Russia suggests that the percentage of believers in the total population is in the middle of the list of European countries, but it is the country with the highest proportion of Muslims among its believers. In general, the research has shown that Russia remains a secular country and confessional-self identification is manifested rather as identification with a particular cultural (...) tradition than as a genuine expression of deep religiosity. [Projekat Ministarstva nauke Republike Srbije, br. 179049: Politike društvenog pamćenja i nacionalnog identiteta - regionalni i evropski aspekt]. (shrink)

Appropriate philosophical language for describing the nature of God took almost two millennia to develop. Parmenides first discovered the language of being. Plato then distinguished the world of changing beings from the world of true being and also from the good “beyond being.” He refused to use being language for the Olympic gods. Aristotle understood a god as a substance (oujsiva). Avicenna described God, not as a substance but as “being,” which transcends thecategories, including substance. For Br. Thomas of Aquino, (...) God was no longer an Aristotelian substance, nor even an Avicennian “necessary being,” but is bestdescribed as “subsistent being itself ” (ipsum esse subsistens). Here the Christian disciple brought to an even higher level of perfection the achievements of his Islamic master, achievements that far surpassed their beginnings in Parmenidean monism. (shrink)

Nicht erst seit dem Erscheinen der Schwarzen Hefte wird Martin Heideggers personliche wie denkerische Verstrickung in den Nationalsozialismus diskutiert. Die Debatte, ob er sich aus dieser Verstrickung jemals entschieden gelost hat, begleitet die Auseinandersetzung mit Heideggers Denken seit Jahrzehnten. Die Tagung Heideggers Schwarze Hefte. Ideologieanfalligkeit der Intellektuellen, die im Dezember 2015 an der Universitat Freiburg i.Br. stattfand, wendete sich im Blick auf Heidegger und daruber hinaus der Frage zu, wie es dazu kommen konnte, dass sich Intellektuelle in der Weimarer Republik (...) wenigstens zeitweise fur die NS-Bewegung begeisterten. Immanent-kritisches Weiterdenken mit Heidegger gegen Heidegger (NZZ) zeichnet die aus Anlass der Tagung gehaltenen Vortrage in ihrer Gesamtheit aus. Der Band enthalt die Beitrage von Wolfgang Essbach, Andreas Urs Sommer, Claus Arnold, Lore Huhn, Christian Bermes, Jeff Malpas, Emil Angehrn, Peter Trawny, Christoph Demmerling, Oliver Muller, Georg Essen, Rainer Marten und Dieter Thoma. (shrink)

Ovaj rad je deo vece studije posvecene fenomenu ruskog mesijanizma koji je cesto smatran sustinski vaznim faktorom u interpretacijama istorije Rusije. U sredistu autorove paznje je nastanak ucenja o Moskvi kao?Trecem Rimu?. Detaljno je analizirana religijska osnova i istorijski kontekst formulisanja ove ideje u Poslanicama monaha Filoteja. Interpretaciji ove izvorne doktrine o?Trecem Rimu? posvecen je centralni deo rada jer su se na nju pozivale sve kasnije modifikacije ideje o mesijanskoj ulozi Rusije u svetskoj istoriji. PR Projekat Ministarstva nauke Republike Srbije, (...) br. 179014. (shrink)

The terms 'transcendence' and 'immanence' are often used casually and as self-evident. The spatial imagery contained in their meaning determines the way they are understood and used: as opposites, like 'there' and 'here'. As a consequence, the two concepts are seen as mutually exclusive when applied to God's being and to his activity and presence in our world and in our history. This view on the relationship between God and world is characteristic not only of deism and pantheism, but also (...) of theism. However, in the view of Thomas Aquinas, such an opposition cannot adequately capture the central tenets of the Christian faith. This book explores Aquinas' thought on transcendence and immanence in his discussions of creation, analogy, the Trinity, grace and Christ, and offers interpretations in which God's transcendence and his immanence do not exclude but imply one another. >br/>The papers contained in this volume were originally presented at the third international conference of the Thomas Instituut at Utrecht in 2005. (shrink)

The theoretical and empirical link between leadership and workplace bullying needs further elaboration. The aim of the study is to examine the relationship between quality of leadership and the occurrence of workplace bullying 2 years later. Furthermore, we aim to examine a possible mechanism from leadership to bullying using social community at work as mediator. Using survey data that were collected at two different points in time among 1664 workers from 60 Danish workplaces, we examined the total, direct and indirect (...) effects between quality of leadership and workplace bullying. Our results indicate that quality of leadership plays a role in establishing working conditions that lead to workplace bullying. Furthermore, social community at work fully mediates the effect of poor quality of leadership on workplace bullying. This longitudinal study adds to previous cross-sectional studies on the substantial role played by leaders in the bullying process. Within the leadership–bullying relationship, social community at work acts as a full mediator, adding a significant contribution to the discussion of mechanisms involved in the bullying process. Plausible explanations of this mechanism and practical implications are discussed. (shrink)

This book examines the evidential status and use of linguistic intuitions, a topic that has seen increased interest in recent years. Linguists use native speakers' intuitions - such as whether or not an utterance sounds acceptable - as evidence for theories about language, but this approach is not uncontroversial. The two parts of this volume draw on the most recent work in both philosophy and linguistics to explore the two major issues at the heart of the debate. Chapters in the (...) first part address the 'justification question', critically analysing and evaluating the theoretical rationale for the evidential use of linguistic intuitions. The second part discusses recent developments in the domain of experimental syntax, focusing on the question of whether formal and systematic models of gathering intuitions are epistemically and methodologically superior to the informal methods that have traditionally been used. -/- The volume provides valuable insights into whether and how linguistic intuitions can be used in theorizing about language, and will be of interest to graduate students and researchers in linguistics, philosophy, and cognitive science. (shrink)

George Spencer Brown, a polymath and author of Laws of Form, brought together mathematics, electronics, engineering and philosophy to form an unlikely bond. This book investigates Design with the NOR, the title of the yet unpublished 1961 typescript by Spencer Brown. The typescript formed through the author's experiences as technical engineer and developer of a new form of switching algebra for Mullard Equipment LTD., a British manufacturer of electronic components. Related essays contextualise the typescript drawing on a variety of backgrounds (...) from mathematics and engineering to philosophy and sociology. (shrink)

Linguistic intuitive judgements are the de facto data source of choice within generative linguistics. But why we are justified in relying on intuitive judgements as evidence for grammars? In the philosophy of linguistics, this question has been hotly debated. I argue that the three most prominent views of that debate all have their problems. Devitt’s Modest Explanation accounts for the wrong kind of intuitive judgements. The Voice of Competence view and Rey’s account both lack independent evidence. I introduce and defend (...) a novel proposal that accounts for the evidential role of linguistic intuitive judgements and avoids these shortcomings. On this account, linguistic intuitive judgements are reports of the speaker’s immediate experience of trying to comprehend the sentence. This experience is due to the speaker’s linguistic competence, at least in part, and so the justification for the evidential use of linguistic intuitions ultimately comes from the speaker’s competence. However, the account does not rely on any special input from the speaker’s competence being available as the basis for linguistic intuitive judgements. (shrink)

Drawing on interviews with mashup producers, close readings of the mashup music and videos, and a historically and aesthetically informed cultural studies approach, Brøvig demonstrates how mashup music embraces the essence of parody through its mashing and repurposing of sources, associations, and connotations.

This book offers an empirical and theoretical account of the mode of governance that characterizes the Bologna Process. In addition, it shows how the reform materializes and is translated in everyday working life among professors and managers in higher education. It examines the so-called Open Method of Coordination as a powerful actor that uses “soft governance” to advance transnational standards in higher education. The book shows how these standards no longer serve as tools for what were once human organizational, national (...) or international, regulators. Instead, the standards have become regulators themselves – the faceless masters of higher education. By exploring this, the book reveals the close connections between the Bologna Process and the EU regarding regulative and monitoring techniques such as standardizations and comparisons, which are carried out through the Open Method of Coordination. It suggests that the Bologna Process works as a subtle means to circumvent the EU’s subsidiarity principle, making it possible to accomplish a European governance of higher education despite the fact that education falls outside EU’s legislative reach. The book’s research interest in translation processes, agency and power relations among policy actors positions it in studies on policy transfer, policy borrowing and globalization. However, different from conventional approaches, this study draws on additional interpretive frameworks such as new materialism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Center Blossoms, Part 1:The Pneumatological Fruit of the Incarnate Word in Bonaventure's BreviloquiumBr. Thomas A. Piolata OFM Cap. (bio)This paper asks the following question: What is the fruit of Saint Bonaventure's theological focus on Christ as the center of all theology? While Bonaventure's christocentric vision has rightly received ample scholarly attention and recognition, a clear and robust explication of the fruit—i.e., the culmination or goal—of this vision yet (...) remains to be articulated.1 The above question has not received a full answer. There is thus a lacuna and a need within the secondary literature on the Seraphic Doctor's thought. This study addresses and begins to remedy this lacuna. It offers a preliminary answer to the above question.2 To this end, I will argue that Bonaventure's christocentrism yields a theology that accentuates the Spirit's role in salvation—a pneumatological soteriology.To argue this point, I focus principally on Bonaventure's systematic masterpiece, the Breviloquium. I have chosen this text for two principal reasons. The first reason: the Breviloquium makes manifest the Seraphic [End Page 195] Doctor's distinctive christocentrism.3 After all, in a work consisting of seven parts,4 it is precisely Part 4—De incarnatione Verbi—that constitutes the text's undeniable structural center. Bonaventure's treatment of the Incarnate Word constitutes, as Part 4 of the text, the centerpiece of the seven-part theological synthesis developed in the Breviloquium.The second reason: the Breviloquium makes explicit the inherent— and specifically pneumatological—fruitfulness of Bonaventure's christocentrism. Significantly, that is, the centrality of Christ in the text does not end in Christ. Already in Part 4, the text's structural center, the centrality of Christ culminates and finds its fullness in a pneumatological, pentecostal reflection: "Postremo, ut inflammaret ad caritatem, misit [Christus] ignem Spiritus sancti in die Pentecostes."5 These words reveal the pneumatological climax of Christ's mission. They are taken from the tenth and final chapter of Part 4, where Bonaventure makes explicit reference to the "Spiritus sanctus" nine times.6 This pentecostal conclusion and cluster of references to the Spirit imbues this final chapter of Part 4 De incarnatione Verbi with a pronounced pneumatological accent and culmination. The centrality of the Incarnate Word already—within its own structure—begins to blossom into the Spirit. Indeed, the centrality of Christ is a blossoming center.This pneumatological apogee of the centrality of Christ does not go unnoticed by Joshua Benson in his careful study of the Breviloquium's Christology. Benson utilizes as a structural hermeneutic Bonaventure's triadic division of ortus, progressus/modus, and status/fructus introduced in the prologue of the text,7 and arrives at the following synthesis: "This chapter [Chapter 10 of Part 4] is the ultimate fructus of Bonaventure's investigation of the incarnate Word and also establishes Christ further as the ortus of the life of grace that Bonaventure will examine in part 5 [De gratia Spiritus sancti]."8 Benson thus eventually concludes: "The paschal mystery is the foundation for the pneumatological mystery of the church."9 [End Page 196]Ultimately, then, Benson's comments bear witness to the inherent trajectory of the Breviloquium's distinctive christocentrism. Indeed, the center not only anticipates, but even reaches into the subsequent parts that follow: Part 4 does not stand alone as an isolated monad, but betrays directionality, a movement toward the Spirit. Put differently, the text's undeniable christic center is a vibrant center that bears fruit, a center that breathes forth the mystery of the Spirit. In a word, the center blossoms: pneumatological presence pulsates within and so blossoms forth from the reality of the Incarnate Word.This insight motivates the present study. After all, it is this basic insight that lies at the genesis of, formulates an initial answer to, and evinces the theological gravity within the very question that opened this essay: What is the fruit of Bonaventure's theological focus on Christ the center? Answering this question constitutes the goal of this study. To answer it, I will explicate the—pneumatological—fruit of Christ the center. In brief, the answer I propose lies in what I will... (shrink)

The technologies used to govern performance at universities consist of monitoring and comparative instruments. They are designed to affect and direct behaviour. In these academic environments of exposure, comparison and self-monitoring are deeply entangled with a vulnerable affective economy. This article explores how these data may affect our moods and how academic value could be curated by other means and with care. Drawing on feminist new materialist thinking and speculative feminist storytelling, the article takes this picture of the actual as (...) a point of departure for discussing ways of experimenting with affirmative critique of the current use of data. Through a smaller experiment with thirty PhD students, the article discusses how to speculatively curate academic value by other means that provide more liveable world(ing)s than data visuals measuring performance and that engage other sensorial and affective registers. (shrink)