The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and (...) west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

Gott ist schon seit Nietzsche tot? aber was ist mit dem Teufel? Woher kommt er, wie hat er seine bekannte Gestalt angenommen, und warum kann auch er nichts weiter als ein Produkt menschlicher Abstraktion sein? Erstmals in der Historie der Philosophie wird die Vermenschlichung des Teufels umfassend und interdisziplinär aufgeschlüsselt, um ihn als das zu entschleiern, was er ist: eine menschliche Kopfgeburt, die lediglich ein hässliches Abziehbild von uns selbst ist. Diese Erkenntnis mündet in den anthropologischen Adiabolismus, die anthropologische Teufelsverneinung: (...) Der Teufel ist nur die leere Hülle des ausgelagerten menschlich Bösen. Anhand vielfältiger Disziplinen wie Anthropologie, Theologie, Kunstgeschichte, Literatur und Volkskunde wird die riesige Anthropomorphismus-Matrix des Teufels religionsphilosophisch enthüllt. Von Feuerbachs wegweisender Religionskritik ausgehend weitet Matthias Christian Friedel den Blick auf Teufelsbilder der gesamten Religionsgeschichte und gelangt über die grossen Teufelscharaktere der Literatur bis zum Teufelsbild im wörtlichen Sinne: Den Abschluss seiner umfassenden Teufelsstudie bildet ein 57-seitiger Katalog, der mit vielen der bemerkenswertesten Teufelsabbildungen, von Blake und Doré bis Goethe, die Entstehungsgeschichte unserer heutigen Vorstellungswelt illustriert. (shrink)

In this carefully constructed work, Dixon extends the study of art by defining a critical procedure for determining the relation between the work of art and the fundamental attitude of the artist toward himself and the world in which he lives. His specific concern is the relation between art and Christianity. Originally published in 1964. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that (...) were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value. (shrink)

In this article the main stress is on the fact that symbol and myth are the means of the formation of personality and the realization of person’s spirituality in Christianity. It is also observed that sacred symbolism and art represent people’s attitude to God and provide psyche of the faithful with cathartic emotional processes.

Ananda K. Coomaraswamy (1877-1947) was a pioneer in Indian art history and in the cultural confrontation of East and West. Finding a universal tradition in past cultures ranging from the Hellenic and Christian to the Indian, Islamic and Chinese, Coomaraswamy collated his ideas and symbols of ancient wisdom into essays. THE DOOR IN THE SKY is a collection of his writings on myth drawn from his METAPHYSICS and TRADITIONAL ART AND SYMBOLISM.

L'incompréhension qui nous saisit face aux nombreuses créatures réelles ou chimériques qui peuplent l'iconographie romane clunisienne, est révélatrice du défi que constitue la pénétration de l'intelligence médiévale du cosmos. Convaincu que ces images trouvent leurs racines dans une vision théologique, Arnaud Montoux soutient que leur présence manifeste le rapport des Clunisiens à la société dont ils se veulent les guides. Parmi les oeuvres théologiques majeures du Moyen Âge carolingien dans lequel s'enracinent l'histoire et la geste clunisiennes, celle de Jean Scot (...) Érigène tient une place singulière ; par son ampleur qui embrasse la totalité de la nature et par son ouverture sur la théologie des Pères grecs, cette pensée témoigne d'un projet théologique de réintégration de la totalité du cosmos en Dieu. Cet ouvrage nous invite à lire l'énoncé iconographique clunisien à la lumière de l'intelligence des destinées du monde que propose le grand théologien irlandais. La première partie s'attache à lire l'histoire de Cluny sous l'angle du réordonnancement du monde, qui caractérise l'action de ses grands abbés. La seconde dégage au sein de l'abbatiale des éléments qui mettent en lumière la procession des êtres à travers lesquels Dieu se manifeste. La troisième partie prétend reconsidérer la place des extrêmes cosmiques que sont l'indigence, la faiblesse, l'étrangeté et la mort dans la dynamique globale de cette procession. Ces recherches interrogent notre capacité à recevoir le foisonnement des images clunisiennes de manière nouvelle, comme signe d'une espérance pour le cosmos."--Page 4 of cover. (shrink)

This book offers a multidisciplinary collection of historiographical case studies which in various ways explore the question of the modes of interrelation between 'change' and 'continuity' in historical narratives in Western cultural history."--Introduction, p. [1].

Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, followers, (...) and environments, the product of which contributes to group and organizational outcomes. In this paper, we argue that, despite this more holistic recognition of leadership processes within the broader leadership literature, current conceptualizations and analyses of destructive leadership continue to focus too heavily on behaviors and characteristics of “bad” leaders. In our view, to achieve a more balanced understanding of destructive leadership, it is important to adopt more integrative approaches that are based in the contemporary leadership discourse and that recognize flawed or toxic leaders, susceptible followers, and conducive environments as interdependent elements of a broader destructive leadership process. To this end, we offer a critique of the destructive leadership literature, propose a broader definition of destructive leadership, and highlight gaps in our understanding of leaders, followers, and environments in contributing to destructive leadership processes. Finally, we conclude by discussing strategies for examining destructive leadership in a broader, more holistic fashion. (shrink)

The essay explores the special features of French Symbolist aesthetics, which consist of the conceptions of symbolization as correspondence between the spiritual and objective worlds, suggestion, artistic synthesis and synesthesia, beauty, the beautiful and the sublime. The author analyzes the main trends of Symbolist aesthetics in France – the Neoplatonic/Christian and the Solipsistic symbolism – and traces their influence on art. She shows that the attitude toward aesthetic philosophy inherent in French Symbolism turned out to be the (...) backbone for Euro-American culture in the twentieth and twenty-first centuries. (shrink)

English summary: Gilduin (1155) was, from 1113, the first abbot of the community of the Canons Regular of St Augustine, soon to become an abbey, under the auspices of St Victor of Marseille, on the left bank of the river Seine. After the death of his confrere Hugh, who was of German descent and the leading figure of the Victorines, on 11 February 1141, abbot Gilduin took care that the writings of Hugh were collected and compiled in a representative complete (...) edition. This 'Gilduin-edition' - as it is called in Medieval scholarship - comprises four volumes, the first of which is reconstructed herewith and presented in print. This volume follows the 2008 edition of Hugh's theological summa, De sacramentis christiane fidei. Then as now we are dealing with a critical albeit historical text. This new volume contains nine works, among which the first ever complete edition of Hugh's Cronica surely stands out. German description: Gilduin (+ 1155) war ab 1113 der erste Abt der einige Jahre zuvor gegrundeten und bald zur Abtei erhobenen Gemeinschaft von Augustinerchorherren unter dem Patronat des hl. Victor von Marseille, auf dem linken Ufer der Seine. Nach dem Tode seines Mitbruders Hugo, des aus Deutschland stammenden fuhrenden Kopfes der Viktoriner, am 11. Februar 1141 hat Abt Gilduin dafur gesorgt, daa die Schriften Hugos gesammelt und in einer reprasentativen Gesamtausgabe zusammengestellt werden. Diese in der internationalen mediavistischen Forschung so genannte,Gilduin-Ausgabe' der Werke Hugos von Saint-Victor umfaat vier Bande, deren erster hiermit rekonstruiert und im Druck vorgelegt wird. Dieser Band folgt somit auf unsere im Jahre 2008 besorgte Ausgabe der theologischen Summe Hugos, De sacramentis christiane fidei. Damals wie heute handelt es sich um einen kritischen, wenngleich historischen Text. Dieser neue Band umfaat neun Werke, unter denen insbesondere die uberhaupt erste vollstandige Ausgabe von Hugos Cronica hervorzuheben ist. (shrink)

L'Homme, cet être vivant doué de raison, fabricant d'objets élaborés, doté d'un langage articulé, chez lequel a émergé la pensée conceptuelle et symbolique, se caractérise par une aptitude à l'émerveillement, et une capacité d'espérance accompagnée d'un refus de l'absurde. Avec l'invention de l'outil manufacturé et les premiers témoignages d'une pensée symbolique, comment la fabuleuse aventure culturelle et spirituelle de l'Homme a-t-elle débuté? Pourquoi à travers les temps, même les plus anciens, et dans toutes les cultures, l'émergence du sens de la (...) transcendance n'a-t-il cessé de se manifester et de s'inscrire au coeur de notre humanité? Comment est-il devenu une caractéristique de l'Homme, une de ses aspirations profondes? Comment définir le sens du sacré? C'est de cette dimension intrinsèquement humaine, et des traces qu'elle a laissées, qu'il est ici question. Après L'Univers, la Vie et l'Homme : émergence du sens de la Conscience et Le Beau, l'Art et l'Homme : émergence du sens de l'Esthétique, voici le troisième et dernier opus dirigé par Henry de Lumley, issu d'un cycle de conférences au Collège des Bernardins. L'ambition de ces rencontres? Faire dialoguer physiciens, astrophysiciens, géologues, biologistes, paléoanthropologues, préhistoriens, historiens de l'art, philosophes et théologiens autour de questions qui ont trait à l'essence de l'humanité. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of Reality (...) -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

In light of new historical evidence regarding ethnomycologist R. Gordon Wasson’s correspondence with art historian Erwin Panofsky, this article provides an in-depth analysis of the presence of entheogenic mushroom images in Christian art within the context of the controversy between Wasson and philologist John Marco Allegro over the identification of a Garden of Eden fresco in the 12th century Chapel of Plaincourault in France. It reveals a compelling financial motive for Wasson’s refusal to acknowledge that this fresco represents Amanita (...) muscaria, as well as for Wasson’s reluctance to pursue his hypothesis regarding the entheogenic origins of religion into Christian art and artifacts. While Wasson’s view – that the presence of psychoactive mushrooms in the Near and Middle East ended around 1000 BCE – prevailed and stymied research on entheogens in Christianity for decades, a new generation of 21st century researchers has documented growing evidence of A. muscaria and psilocybin-containing mushrooms in Christian art, consistent with ethnobotanist Giorgio Samorini’s typology of mushroom trees. This article presents original photographs, taken during fieldwork at churches and cathedrals throughout Europe and the Middle East, that confirm the presence of entheogenic mushrooms in Christian art: in frescoes, illuminated manuscripts, mosaics, sculptures, and stained glass windows. Based on this iconic evidence, the article proposes a psychedelic gospels theory and addresses critiques of this theory by art historians, ardent advocates, medieval historians, and conservative Catholics. It calls for the establishment of an Interdisciplinary Committee on the Psychedelic Gospels to independently evaluate the growing body of evidence of entheogenic mushrooms in Christian art in order to resolve a controversial question regarding the possible role of entheogens in the history and origins of Christianity. (shrink)

In this essay, I argue that though symbolism performs many roles in different cultures, it has a uniquely moral one in Igbo land. That unique role which symbolism performs in the pristine communalistic Igbo society concerns the regulation of human freedoms and actions in order to maintain social order. But is this something that can be sustained in a modern Igbo society that is more individualistic than communalistic? This paper is of the view that through the proper maintenance (...) of such symbolism: social control between individuals and groups shall be more coordinated in the contemporary Igbo world; regulate and checkmate the Igbo moral consciousness of oneness; control some cultural maladjustment and bring more about social unity in Igbo land. Keywords: Symbol, Symbolism, Social Order, Igbo, Oji. (shrink)

This article examines the potential of art and archaeological remains for the study of women's social history in early Christianity. Part I considers important sources for art and archaeological data; the received method and classification criteria for the discipline of early Christian art and archaeology; and the types of problems both earlier and contemporary approaches to the material remains present for scholars. Part II proposes an approach to understanding early Christian art and material culture as part of a (...) larger ongoing social discourse in the ancient Mediterranean world where cultural representations take part in the lively social and aural culture of life lived in close proximity to others. This approach places art and archaeological evidence in the foreground and documentary sources in the background as corroborative evidence. (shrink)

While the only extensive discussion of music in Kierkegaard’s work is the famous treatise based on Mozart’s opera Don Giovanni in the first part of the pseudonymous Either/or (1843), Kierkegaard did write other brief passages, in which he made comments on musical aspects. Two recent articles have pointed to attitudes toward music in such passages which seem to differ from the negative evaluation of music as a religious or theological medium in the first part of Either/or by the fictitious aesthete (...) A. With a point of departure in the two mentioned articles, I attempt to further discuss the possible relationship between the ethical and the aesthetic in Kierkegaard’s musical thought, involving passages from both parts of Either/or as well as a few journal-entries. Finally, Erika Fischer-Lichte’s distinction between staging and performativity is brought to bear on these issues. (shrink)