Archetypal Process is a pioneering study linking the ideas of process philosophy, as developed by Alfred North Whitehead and Charles Hartshorne, with the archetypal psychology of C. G. Jung and James Hillman. This is the first work to examine the interconnections of these two modes of thought. Archetypal Process examines the importance of cosmological thinking and the need to ground archetypal psychology in a metaphysical, philosophical framework. It treats the necessity for symbol and myth, the nature of the spirit, and (...) language as a metaphorical vehicle of thought, and finally, it adds a much-needed feminist perspective to the debate. (shrink)

Berkeley's doctrine of archetypes explains how God perceives and can have the same ideas as finite minds. His appeal of Christian neo-Platonism opens up a way to understand how the relation of mind, ideas, and their union is modeled on the Cappadocian church fathers' account of the persons of the trinity. This way of understanding Berkeley indicates why he, in contrast to Descartes or Locke, thinks that mind (spiritual substance) and ideas (the object of mind) cannot exist or be thought (...) of apart from one another. It also hints at why Gregory of Nyssa's immaterialism sounds so much like Berkeley's. (shrink)

ABSTRACT The philosophical tradition approaches to morals have their grounds predominantly on metaphysical and theological concepts and theories. Among the traditional ethics concepts, the most prominent is the Divine Command Theory (DCT). As per the DCT, God gives moral foundations to the humankind by its creation and through Revelation. Morality and Divinity are inseparable since the most remote civilization. These concepts submerge in a theological framework and are largely accepted by most followers of the three Abrahamic traditions: Judaism, Christianity, (...) and Islam: the greatest part of the human population. Holding faith and Revelation for its grounds, the Divine Command Theories are not strictly subject to the demonstration. The opponents to the Divine Command conception of morals, grounded in the impossibility of demonstration of its metaphysical and religious assumptions, have tried for many centuries (albeit unsuccessfully) to devalue its importance. They held the argument that it does not show material evidence and logical coherence and, for this reason, cannot be taken into account for scientific nor philosophical purposes. It is just a belief and, as so, should be understood. Besides these extreme oppositions, many other concepts contravene the Divine Command theories, in one or another way, in part or in full. Many philosophers and social scientists, from the classic Greek philosophy up to the present date, for instance, sustain that morality is only a construct, and thus culturally relative and culturally determined. However, this brings many other discussions and imposes the challenge to determine what is the meaning of culture, which elements of culture are morally determinant, and finally, what are the boundaries of such relativity. Moral determinists claim that everything related to human behavior, including morality, is determined, once free will does not exist. More recently, modern thinkers argued that there is a strict science of morality. However, the scientific method alone, despite explaining several facts and evidence, cannot enlighten the entire content and full meaning of ethics. Morals’ understanding requires a broader perception, and an agreement among philosophers, which they have never achieved. All of these questions have many different configurations depending on each philosophical strand, and start complex analysis and endless debates, as long as many of them are reciprocally conflictive. The universe and the atmosphere involving this thesis are the dominions of all these conceptual conflicts, observed from an objective and evolutionary standpoint. Irrespective of this circumstance and its intrinsic importance, however, these questions are far distant from the methodological approach of an analytical discussion on objective morals, what is, indeed, the aim and scope of this work. We should briefly revisit these prominent traditional theories because this thesis shelters a comparative study, and its assumptions at least differ profoundly from all traditional theories. Therefore, it becomes necessary offering direct and specific elements of comparison to the reader, for the right criticism, dispensing interruptive researches. However, even revisiting the traditional theories, for this comparative and critical exposure purpose, they will be kept by the side of our main concerns, as “aliena materia.” Irrespective of the validity of any or all of the elements of this discussion, and their meaning as the philosophical universe of this thesis, the purpose of this work is demonstrating and justifying the existence and meaning of prehistoric moral archetypes arisen directly from the very first social needs and efforts for survival. These archetypes are the definition of the essential foundation of ethics, its aggregation to the collective unconscious and corresponding logic organization and transmission to evolutionary stages of the human genome and different relations space-time, irrespective of any contemporary experience of the individuals. The system defined by these archetypes composes an evolutionary human social model. Is this a metaethical position? Yes, it is. Moreover, as in any metaethical reasoning, we should look carefully for the best and coherent routes, as the Analytical Philosophy offers them. Thus, this work should reasonably demonstrate that morals are not a cultural product of the civilized men or modern societies and that despite being subject to several cultural relative aggregations and subtractions, its essential foundations are archetypal and have never structurally changed. This reasoning induces that morality is an original attribute of the “homo sapiens”; it is not a property and nor an accident: it integrates the human essence and belongs to the realm of the ontological human identity. The human phenomena is a continuing process, playing its role between random determination and free will, and we need to question how morality began and how did it come to us in the present. (shrink)

Les approches de la tradition philosophique de la morale reposent principalement sur des concepts et des théories métaphysiques et théologiques. Parmi les concepts éthiques traditionnels, le plus important est la théorie du commandement divin (DCT). Selon la DCT, Dieu donne des fondements moraux à l'humanité par sa création et par la Révélation. Morale et Divinité sont inséparables depuis la civilisation la plus lointaine. Ces concepts plongent dans un cadre théologique et sont principalement acceptés par la plupart des adeptes des trois (...) traditions abrahamiques : le judaïsme, le christianisme et l'islam : la partie la plus considérable de la population humaine. Tenant la foi et la Révélation pour ses fondements, les Théories du Commandement Divin ne sont pas strictement sujettes à la démonstration. Les opposants à la conception de la morale du Commandement divin, fondée sur l'impossibilité de démontrer ses présupposés métaphysiques et religieux, ont tenté pendant de nombreux siècles (mais sans succès) d'en dévaloriser l'importance. Ils ont soutenu l'argument selon lequel il ne montre pas de preuves matérielles et de cohérence logique et, pour cette raison, ne peut pas être considéré à des fins scientifiques ou philosophiques. Ce n'est qu'une croyance et, en tant que tel, doit être compris. Outre ces oppositions extrêmes, de nombreux autres concepts contreviennent aux théories du Commandement Divin, d'une manière ou d'une autre, en partie ou en totalité. (shrink)

Is the Germanic god Wotan really an archaic archetype of the Spirit? Was the Third Reich at first a collective individuation process? After Friedrich Nietzsche heralded the "death of God," might the divine have been reborn as a collective form of self-redemption on German soil and in the Germanic soul? In _Jung’s Wandering Archetype_ Carrie Dohe presents a study of Jung’s writings on Germanic psychology from 1912 onwards, exploring the links between his views on religion and race and (...) providing his perspective on the answers to these questions. Dohe demonstrates how Jung’s view of Wotan as an archetype of the collective Germanic psyche was created from a combination of an ancient discourse on the Germanic barbarian and modern theories of primitive religion, and how he further employed _völkisch_ ideology and various colonialist discourses to contrast hypothesized Germanic, Jewish and ‘primitive’ psychologies. He saw Germanic psychology as dangerous yet vital, promising rebirth and rejuvenation, and compared Wotan to the Pentecostal Spirit, suggesting that the Germanic psyche contained the necessary tension to birth a new collective psycho-spiritual attitude. In racializing his religiously-inflected psychological theory, Jung combined religious and scientific discourses in a particularly seductive way, masterfully weaving together the objective language of science with the eternal language of myth. Dohe concludes the book by examining the use of these ideas in modern Germanic religion, in which members claim that religion is a matter of race. This in-depth study of Jung’s views on psychology, race and spirituality will be fascinating reading for all academics and students of Jungian and post-Jungian studies, religious studies and the history of religion. (shrink)

There are archetypal parallels between the shamanic African, and ‘diviner detectives' like Hercule Poirot, when it comes to tracking down homicidal sorcerers, and witches, on the one hand, and direct Western-style murderers on the other. The Ndembu diviner uses the fall of symbolic figurines or images, and the canny questioning of his clients and suspects to pierce the veil of deceit and reveal the sorcerer or witch. Hercule Poirot uses chance clues, questioning, and his intuition to identify the murderer. Both (...) processes culminate in the binding up of an evil, or at least the yearned for revelation of its source. As such they supply a form of purgation or cure to their respective congregations or guilds of readers. When the practices of diviner and detective are compared at an archetypal level, a universal dramatic pattern or model emerges which reveals that the adventitious clues commonly powering the modern detective narrative along, could have developed from what was, or still is in Africa, the old axiomatic belief that an African god is manipulating the images of divination. (shrink)

This article analyses the 1936 “Wotan” essay by Swiss psychologist Carl Gustav Jung in light of one of its reigning motifs, Ergriffenheit. First, this term is examined within the works of Protestant theologian Rudolf Otto and Indologist Jakob Wilhelm Hauer, who used it to describe what they claimed to be the original religious experience, a state of being deeply stirred or even seized by the “the holy” or by “the ultimate reality.” The article then examines antecedents in Jung's theory of (...) states of psychic seizure, in which two halves of the psyche come into conflict, the resolution of which leads to an increased capacity to create the arts of culture. The analysis then moves to the “Wotan” essay itself, where Jung brings together his own theory of psychic seizure with the theory of the original religious experience as proposed by the above-named scholars of religion in order to suggest that, under National Socialism, the Germans were in the midst of a collective confrontation with their own inner divinity, which should lead to a national spiritual rebirth. The article then investigates the works of several of the men Jung mentions in the essay, as well as his use of ancient Germanic mythology, to support his claim. Through his portrait of the Germanic archetype Wotan, Jung psychologizes and thereby essentializes the Romantic image of the Germans as “a people of poets and philosophers” as well as that of a Nietzschean “master-race.” In conclusion, the article argues that, at least in 1936, Jung's attitude towards Hitler and National Socialism was much more favorable than has previously been recognized. (shrink)

This paper proposes a theory to explain the remarkable emotional power of our response to abstract music. It reviews and rejects metaphysical arguments derived from notions of a divine spiritual realm and from absolute forms of human reason. Its conclusion is that musical experience is always essentially inter-subjective and potentially empathetic, and arises from “action-metaphors,” through which we link musical performances, as forms of action, to subconscious, archetypal dimensions of our awareness of ourselves and of our feelings towards others. (...) It ends with a discussion of the implications of this theory for music education. (shrink)

In this essay I analyze two emerging theistic accounts of the laws of logic, one precipitated by theistic conceptual realism and the other from an archetype-ectype paradigm in Reformed Scholasticism. The former posits the laws of logic as uncreated and necessary divine thoughts, whereas the latter thinks of those laws as contingent, accommodated forms of a pre-existing archetypal rationality. After the analysis of the two accounts, I offer an explication of the theological rationale motivating the archetype-ectype model (...) of the laws of logic, and apply that model to recent discussions on theological paradox, abstract objects, and the function of natural-theological argumentation in apologetics. Finally, I respond to three anticipated objections against the archetype-ectype model. (shrink)

The making of music has been sufficiently deep and widespread diachronically and geographically to suggest a genetic imperative. C.G. Jung's 'Collective Unconscious' and the accompanying archetypes suggest that music is a psychic necessity because it is part of the brain structure. Therefore, the present view of aesthetics may need drastic revision, particularly on views of music as pleasure, ideas of disinterest, differences between so-called high and low art, cultural identity, cultural conditioning, and art-for-art's sake.All cultures, past and present, show evidence (...) of music making. Music qua music has been a part of human expression for at least some forty-thousand years and it could well be speculated that the making of music accompanied the arrival of the first human beings. As Curt Sachs states, "However far back we tracemankind, we fail to see the springing-up of music. Even the most primitive tribes are musically beyond the first attempts".Why do humans continuahy create music and include it as an integral part of culture? What is music's driving force? Why do cultures endow music with extraordinary powers? Why do human beings, individuahy and as societies, exercise preferences for specific works and genres of music? In probing these questions, I chose one aspect of Jungian psychology, that of the Collective Unconscious with its accompanying archetypes, as the basis upon which to speculate a world aesthetics of music. Once we dispense with the mechanistic and designer idea of human origins, we have only the investigations of the human psyche to mine for data that could explain the myriad forms of artistic activity found the world over. An examination of human beings, I believe, must lead one ultimately to the study of human behavior and motivations, in short, to the psychology of human ethos. This study wih take the following course: first, a discussion of consciousness and the Collective Unconscious, plus a discussion of archetypes; then, a description of musical archetypal substance; and finally, what I beheve is implied to form a world aesthetics of music.By comparison to Jung, Freud gives us little in the way of understanding artistic substance because for him, all artistic subject matter stems purely from the personal experiences of the artist. In comparing Freud and Jung, Stephen Larsen states that "Where Freud was deterministic, Jung was teleological; where Freud was historical, Jung was mythological". Jung drew on a much wider cross-cultural experiential and intellectual base than Freud. His interests in so-cahed primitive peoples led him to Tunis, the Saharan Desert, sub-Saharan Africa, and New Mexico in the United States to visit the Pueblo Indians; visits to India and Ceylon and studies of Chinese culture all contributed to his vast knowledge of human experience. Jung constructed the cohective unconscious as a major part of the psyche with the deepest sense of tradition and myth from around the world. He was criticized because of his interests in alchemy, astrology, divination, telepathy and clairvoyance, yoga, spiritualism, mediums and seances, fortunetelling, flying saucers, religious symbolism, visions, and dreams. But he approached these subjects as a scientist, investigating the human psyche and what these subjects revealed about mental process, particularly what might be learned about the collective unconsciousness. Jung's ideation, in my view, is sufficiently comprehensive to support the probe of a world aesthetics of music. (shrink)

: In the poetry of Daud Kamal, water figures as an image of mercy, as in the Quran, and as a mirror that reflects divine hidden presence. The rock pool evokes the memory of Gandhara and other foundational civilizations born in love and creative ferment. Conversely, the images of drought, heat, and dust symbolize a parched spiritual order. The river, a recurring archetypal image in Kamal’s poetry, represents the fluid self that is subsumed into collective identity to become a (...) poetic distillate of history. Key words: Daud Kamal, water imagery, drought imagery, Pakistani poetry in English, Gandhara civilization, Islamic poetry. Resumen: En la poesía de Daud Kamal, el agua figura como una imagen de misericordia, como en el Corán, y como un espejo que refleja la presencia divina oculta. El estanque evoca la memoria de Gandhara y otras civilizaciones fundamentales nacidas en el amor y el fermento creativo. Por el contrario, las imágenes de sequía, calor y polvo simbolizan un orden espiritual reseco. El río, una imagen arquetípica recurrente en la poesía de Kamal, representa el yo fluido que se subsume en la identidad colectiva para convertirse en un destilado poético de la historia. Palabras clave: Daud Kamal, imágenes de agua, imágenes de sequía, poesía paquistaní en inglés, civilización de Gandhara, poesía islámica. (shrink)

Berkeley writes in his ThreeDialogues Between Hylas and Philonous that he “acknowledge[s] a twofold state of things, the one ectypal or natural, the other archetypal and eternal[.] The former was created in time; the latter existed from everlasting in the mind of God”. On a straightforward reading of this passage, it looks as though Berkeley is an indirect perception theorist, who thinks that our sensory ideas are copies or resemblances of archetypal divine ideas. But this is problematic because Berkeley’s (...) rejection of scepticism seems partly to rest on a rejection of indirect perception. In this paper, I consider, and reject, three different approaches to solving this problem: that Berkeley’s remarks on archetypes are unrepresentative; that Berkeley is indeed committed to divine archetypal ideas ; and that Berkeley thinks divine archetypal ideas are identical to human ideas. I finally settle on a fourth strategy, which involves reading Berkeley’s archetypes as divine powers to produce ideas. I claim that this reading is consistent with the texts, that it has an etymological basis and philosophical precedent, and that it resolves the problems associated with the other three approaches to archetypes. (shrink)

When Carl Jung and Carl Kerenyi got together to collaborate on this book, their aim was to elevate the study of mythology to a science. Kerenyi wrote on two of the most ubiquitous myths, the Divine Child and The Maiden, supporting the core 'stories' with both an introduction and a conclusion. Jung then provided a psychological analysis of both myths. He defined myth as a story about heroes interacting with the gods. Having long studied dreams and the subconscious, Jung (...) identified certain dream patterns common to everyone. These 'archetypes' have developed through the centuries, and enable modern people to react to situations in much the same way as our ancestors. From nuclear annihilation to AIDS and Ebola, we continue to engage the gods in battle. _Science of Mythology_ provides an account of the meaning and the purpose of mythic themes that is linked to modern life: the heroic battles between good and evil of yore are still played out, reflected in contemporary fears. (shrink)

At the turn of the century an intimate alliance of philosophers, poets and theologians discovered the incarnation of their aspirations for a spiritually transformed world in the symbol of Sophia, the Divine Wisdom of God. Under her various aliases as the Divine Feminine, the Wisdom Clothed in the Sun and the Beautiful Lady, this feminine archetype usurped the traditional role of Christ as the mediator between heaven and earth. She was, however, primarily the inspiration of the Russian (...) philosopher-poet, Vladimir Solov’ev (1853–1900), who created of her the cornerstone for both his metaphysical and aesthetic systems. This spiritual courtship of the Divine Sophia deeply patterned the literary works and interrelationships not only of such prominent symbolist writers as Aleksandr Blok and Andrej Belyj, but brought to light religious eccentrics like Anna Schmidt in a scandalous fashion. Sophia’s influence ranged far beyond the narrower confines of literature and eventually provoked one of the most fascinating debates within the modern émigré Russian Orthodox Church through the offices of Sergej Bulakov, an apparent student of Solovev’s Sophiology. (shrink)

Essays on a Science of Mythology is a cooperative work between C. Kerényi, who has been called "the most psychological of mythologists," and C. G. Jung, who has been called "the most mythological of psychologists." Kerényi contributes an essay on the Divine Child and one on the Kore, together with a substantial introduction and conclusion. Jung contributes a psychological commentary on each essay. Both men hoped, through their collaboration, to elevate the study of mythology to the status of a (...) science.In "The Primordial Child in Primordial Times" Kerényi treats the child-God as an enduring and significant figure in Greek, Norse, Finnish, Etruscan, and Judeo-Christian mythology. He discusses the Kore as Athena, Artemis, Hecate, and Demeter-Persephone, the mother-daughter of the Eleusinian mysteries. Jung speaks of the Divine Child and the Maiden as living psychological realities that provide continuing meaning in people's lives.The investigations of C. Kerényi are continued in a later study, Eleusis: Archetypal Image of Mother and Daughter. (shrink)

New Blackfriars, Volume 102, Issue 1101, Page 728-744, September 2021.

The article describes the representation of St. Augustine's spirit and theological-historical implications of the law, its positive impact on the legitimization of European identity. Theologian distinguishes three types of law: a temporary, natural and eternal law. The latter is an all-encompassing force that controls all the processes of creation. It is implemented through the story and disclosed in the cognitive capabilities of a person to understand its course. Person of the eternal law is also the Holy Letter. It directs the (...) faithful to the divine essence and enables the implementation of the covenants of Christ - to search for individual mutual society. Realization of the Divine precepts creates two social practices: the legalization of individual and corporate rights of the defense of honor and collective property, as well as claims libertalny principle of law. Natural law comes from the eternal law, and there is a perfect synthesis of normal human relationships and the general laws of nature. Its key provisions are security and the continuation of life of the human race. Precept of natural law is the pursuit of a free implementation of the transcendent and the immanent levels of human existence. And at the same time the desire of people to be a single entity - to reach a general agreement (concordia), the order of love with all the elements of social life. Klyuchnym for achieving concordia is understanding people in the language that gives everyone in the communication process with the "neighbors" to reveal their natural essence and develop common criteria for the fair. Temporary law is a combination of the laws of the state and social control in the form of folk traditions and customs. It forms a unique socio-politic about individual people and determines its development. For Augustine, the temporary law is conscious norm overseas social elements of individual and corporate desires that can destroy people reached concordia. However, Augustine's interpretation of the law did not eliminate the temporary rule of the eternal law in the soul of man - his conscience and the right of free solutions. The human soul is a divine archetype, and therefore the individual acquires the status of an autonomous artist eternal and natural law. Thus, the Augustinian doctrine of the law legitimizes the human right to self-affirmation, the autonomic harmonization of all three levels of law. This aspect of the teaching of St. Augustine become the basis for the approval of the European individualism. (shrink)

I argue that peter wenz's claim, That berkeley's view is that abstract ideas are impossible for us but not for god, Is untenable. But the impossibility of God having abstract ideas does not, Contrary to wenz, Entail that there is no room for the divine archetypes in berkeley's system.

Over the span of eleven years, Nicolas Malebranche and Antoine Arnauld, two prominent sympathizers of the Cartesian tradition, engaged in a rigorous debate. In his initial set of criticisms, Arnauld objects that a natural consequence of Malebranche’s theory of ideas is idealism.1 This charge of idealism has puzzled scholars: why did Arnauld believe this? Han Adriaenssen2 has convincingly argued that Arnauld’s charge of idealism is founded on the representationality of Malebranchean ideas. According to Arnauld, ideas represent for Malebranche in much (...) the same way that portraits do—by inciting a perceiver to form a conception of whatever they pertain to. The portrait of Louis XIV, for example, represents the French monarch by inciting a conception that pertains to him in a perceiver. However, a portrait will only represent Louis XIV to a perceiver that is already familiar with the king. Only then will the conception of Louis XIV arise in a perceiver that actually pertains to him. Similarly, then, an idea of the sun will only represent it to a perceiver with a previous conception of the sun. But, for Malebranche, the conception of an object requires the perception of the idea which represents that object. Thus, a perceiver cannot have a conception of the sun prior to the perception of its idea. Malebranchean ideas accordingly fail to function as representations of their objects. In failing to represent external objects, moreover, the ideas in the divine intellect are not just the immediate objects of our perception, but the only objects of our perception. Consequently, Arnauld concludes that Malebranche’s view leads to idealism. Arnauld’s objection, however, presupposes a particular account of representation, namely, resemblance. For a prior conception of what an idea represents would be required in order for the idea to actually represent its object only if ideas represented by resembling their objects as portraits do. This paper will challenge the traditional3 characterization of the representationality of Malebranchean ideas in terms of resemblance. I argue that a careful examination of Malebranche’s texts, and of the Neoplatonic-Augustinian sources upon which Malebranche bases his theory of ideas, reveals that Malebranche is not steadfastly committed to the view that ideas represent by means of resemblance, but instead, by archetypal participation. On this view, Malebranchean ideas are divine archetypes wherein the essences of objects participate by being the exemplary causes of these essences. And it is in virtue of this causal relation that ideas represent the essences of objects. So, as regards external bodies, the idea of intelligible extension is the archetype of bodies which represents their essence, viz., extension, in virtue of being the exemplary cause of extension in bodies. When we interpret Malebranche’s view of ideational representation this way, the charge of idealism broached by Arnauld, and some recent commentators4, dissipates. This is because Malebranchean ideas, in conjunction with particular sensations, can direct a perceiver to the cognition of individual bodies that participate in the idea of intelligible extension without a prior conception of these bodies. (shrink)

In this article, the Bild or image of the sculptor used by Plotinus and adapted by his Christian follower Meister Eckhart forms the basis of a reflection on the religious or otherworldly dimension in ethics and on the relationship of esthetics, morality, and religion. The image of the sculptor who chips away at his sculpture exemplifies the relationship of the individual to its divine archetype. Such knowledge involves transformation of the knower, a turning back of the image to (...) the archetype, a shaping of the self that emerges from recognition of its true identity and vocation. This constitutes the dynamic dimension of Bildung in Eckhart as educere, a leading forth from attachment to particular things and a purification and reformation of the self according to its true image. The turning back is thereby a turning within to the supreme Good, the nobility and the purity of the Divine nature, which is the origin of the true self and its intrinsic dignity as image of its transcendent source. (shrink)

This paper investigates the degree to which information theory, and the derived uses that make it work as a metaphor of our age, can be helpful in thinking about God’s immanence and transcendance. We ask when it is possible to say that a consciousness has to be behind the information we encounter. If God is to be thought about as a communicator of information, we need to ask whether a communication system has to pre-exist to the divine and impose (...) itself to God. If we want God to be Creator, and not someone who would work like a human being, ‘creating’ will mean sustaining in being as much the channel, the material system, as the message. Is information control? It seems that God’s actions are not going to be informational control of everything. To clarify the issue, we attempt to distinguish two kinds of ‘genialities’ in nature, as a way to evaluate the likelihood of God from nature. We investigate concepts and images of God, in terms of the history of ideas but also in terms of philosophical theology, metaphysics, and religious ontology. (shrink)

This article deals with the relationship between simple, monadic, divine words and the words of men linked to corporeity, devoid of clarity and univocity. For the divine word to be grasped by men a kind of transformation is necessary. One can hypothesize the existence of an archetypal, primordial language, in imitation of the essence of things. It is the language of Adam: given the perfection of a still pure soul, not affected by infirmity, illness or passion, the progenitor (...) seized immediate impressions, grasped the meaning of things whose natures could be enunciated and thought at the same time. It is the original perfect language and is perhaps common to humans and animals if in the Garden of Eden the words of the serpent were understood by Eve. A distinction is drawn between the language of Adam, mimetic of the language of God and the mosaic language in which we have the translation of the divine word in human language. This, despite that, for Moses too it is said that the names correspond to the description of things. A further passage takes place with the passing from one language into another. God addresses different kinds of communication to different people according to their capacities. It is a “translation” of a noetic language that can speak monadically – and it is the case of communication to Moses – or assume the form of names and verbs proper to human language –and it is what happens with the Septuagint, translators like Aron. (shrink)

In article it is proved that in the life of the Slavic peoples the special place held by a woman. "Female" cults and beliefs reflected in figurative and symbolic representations of Slavic mythology. It recorded the stereotypes, archetypes and symbols which are then in an ancient society has formed certain social attitudes and cultural canons. Figuratively symbolic representations in different cultures became the basis of the IN social constructs of identity related cultures. Figuratively, a symbolic representation of Slavic mythology testify (...) to the woman's place in society, her position in the family, relationship with man and environment. History mythology gives the opportunity to see the unity of the human mind and divine soul of man and nature. But the emergence of Archetypal images is partly determined by the individual typological structure of human identity. Already in ancient mythology was formed the cult of Woman, which for thousands of years, embodies the ambivalence of perception: the magic authority of feminity, wisdom and spiritual growth, extending beyond formal logic, any helpful instinct or impulse all that is called kindness, which gives care and support, contributes to the development and productiveness of, contrasted with secret hidden dark: the abyss, the world of the dead, all that devours, seduces and poisons, everything that causes terror and is inevitable as fate itself. Ancient women's cults of the Slavs was a holistic cultural-ideological system, appears part of a wider system of mythological ideas of the peoples of Europe. Women's cults of the peoples of Eastern and Western Slavs belong to the related cultures. Slavic mythological images are close to the mythological images of the other peoples of Europe, however, have their identity associated with the allocation of the total Indo-European family, at a certain stage of development of ethnos. The analysis of figurative and symbolic representations of Slavic mythology suggests that actualizes the problem of incorporating a "women's cults" gender and strain family relations. (shrink)

This paper first expounds the Aristotelian conception of universals. Afterwards, it determines (a) that in the metaphysics of the Stagirite there is place for divine Ideas as archetypes, and (b) which are the relations that exist between things and Ideas. It concludes, in the light of the above, with a reconsideration of the Aristotelian critique of Plato’s theory of anamnesis.

This chapter contains sections titled: Archetype Great Zeus Glorious Hera Mother Demeter Bright‐eyed Athene Shining Apollo Artemis the Huntress Golden‐haired Aphrodite Winged Eros Ares theWarrior Crippled Hephaistos Aunty Hestia Dancing Dionysos Prometheus the Saviour Hermes the Salesman Conclusion References.

Since its first appearance in 1821/22, The Christian Faith has had a fractious history of reception. It implements decisive departures for theology, founding the possibility to speak about God on human freedom. It recognises the role of historical consciousness, and the need to relate to advances in the natural sciences. The study investigates the early critiques of Schleiermacher’s analysis of the feeling of utter dependence, of his conception of Christ as the archetype of the God-consciousness, and of his doctrine (...) of God in terms of absolute causality. It reconstructs the revisions carried out in the second edition of 1830/31 as a break-through to a transcendental argumentation. Does Schleiermacher’s elaboration of the anthropological turn in theology leave it defenseless against the dissolution of faith in a saving God in Feuerbach’s projection thesis? Does it offer a naturalising account of religion? And where does the interconnectedness of nature established by God leave what was prized by the Romantics, human individuality? Ongoing objections and new constellations of questions are examined in their relevance for a modern theology that spells out faith in God as a practical self-understanding. “Maureen Junker-Kenny’s book is an outstanding presentation of Schleiermacher’s theology. She attends not only to the development of his method from the first to the second edition of The Christian Faith, but also to his concrete interpretation of Creation, Christology, Redemption, Theological Anthropology, especially human freedom, and his understanding of God. The book has an exceptional value in the way she relates Schleiermacher not only to his contemporaries, but also contemporary concerns. Schleiermacher’s theology is shown in its relation to the modernity of his age, but also the ongoing modernity of today. The book has a depth and breath that make it indispensable not only for historical theology, but also contemporary constructive theology.” – Francis Schüssler Fiorenza, Harvard Divinity School “In Self, Christ and God in Schleiermacher’s Dogmatics. A Theology Reconceived for Modernity, Maureen Junker-Kenny proves herself to be not only a distinguished interpreter of Schleiermacher’s work, but a creative practitioner in her own right of his dialogical method. Elegantly conceived and beautifully written, the book shows how Schleiermacher connected the different aspects of his thought—form/content, structure/doctrine, piety/critical rigor—into a coherent system. Self, Christ and God in Schleiermacher’s Dogmatics is now the only guide to Schleiermacher’s magnum opus, Christian Faith, anyone needs.” – Christine Helmer, Northwestern University, Chicago. (shrink)

This book discusses how Plato, one the fiercest legal critics in ancient Greece, became – in the longue durée – its most influential legislator. Making use of a vast scholarly literature, and offering original readings of a number of dialogues, it argues that the need for legal critique and the desire for legal permanence set the long arc of Plato’s corpus—from the Apology to the Laws. Modern philosophers and legal historians have tended to overlook the fact that Plato was the (...) most prolific legislator in ancient Greece. In the pages of his Republic and Laws, he drafted more than 700 statutes. This is more legal material than can be credited to the archetypal Greek legislators—Lycurgus, Draco, and Solon. The status of Plato’s laws is unique, since he composed them for purely hypothetical cities. And remarkably, he introduced this new genre by writing hard-hitting critiques of the Greek ideal of the sovereignty of law. Writing in the milieu in which immutable divine law vied for the first time with volatile democratic law, Plato rejected both sources of law, and sought to derive his laws from what he called ‘political technique’. At the core of this technique is the question of how the idea of justice relates to legal and institutional change. Filled with sharp observations and bold claims, Platonic Legislations shows that it is possible to see Plato—and our own legal culture—in a new light “In this provocative, intelligent, and elegant work D. L. Dusenbury has posed crucial questions not only as regards Plato’s thought in the making, but also as regards our contemporaneity.”—Giorgio Camassa, University of Udine “There is a tension in Greek law, and in Greek legal thinking, between an understanding of law as unchangeable and authoritative, and a recognition that formal rules are often insufficient for the interpretation of reality, and need to be constantly revised to match it. Dusenbury’s book illuminates the sophistication of Plato’s legal thought in its engagement with this tension, and explores the potential of Plato’s reflection for modern legal theory.”—Mirko Canevaro, The University of Edinburgh. (shrink)

Although Kant had a high regard for Jesus as a moral teacher, interpreters typically assume that his philosophy disallows belief in Jesus as God. Those who regard Kant as a moral reductionist are especially likely to offer a negative construal of the densely-argued subsection of his 1793 Religion that relates directly to this issue. The recent “affirmative” trend in Kant-scholarship provides the basis for an alternative reading. First, theologians must regard Jesus as human so that belief in Jesus can empower (...) believers to become good. Second, theologians may refer to Jesus as divine by identifying his disposition as exemplifying the “archetype of perfect humanity.” Third, Judeo-Christian history poses an empirical problem that theologians can solve by interpreting Jesus’s divinity according to the schematism of analogy. While this does not constitute a robust (identifiably Christian) doctrine of Jesus’s divinity, it does provide clear guidelines for formulating such a tenet of historical faith. (shrink)

This paper explores the ontology of Malebranche's notion of "intelligible extension", the archetypal divine idea of matter which he believed to be the immediate object of our own minds in all of our thoughts about corporeal things. Building on this account of its ontology, and through an examination of a form of isomorphism between intelligible extension and the created spatial world, the paper also attempts to explain the manner in which it could fulfill its epistemological role of representing all (...) possible bodies and supplying us with our abstract knowledge of geometry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:494 HISTORY OF PHILOSOPHY in the Haller Zeitung; it will probably not appear at all--it has, among other short, comings, the fault to be too long." In a letter to Schtitz, Niethammer writes from Bamberg on 23 March 1807: "I repeat my urgent demand... to send the review of Salat's book submitted by Prof. Hegel as soon as possible to Jena to hand it in to Hofrat Voigt.... " (...) The volume contains almost 1,000 valuable notes which explain the philosophical and historical background of the newly edited material. HENRY WALTERBRANN Takoma Park, Maryland Peter Yakovlevich Chaadayev: Philosophical Letters and Apology of a Madman. Trans. with Intro. by Mary-Barbara Zeldin. (Knoxville: University of Tennessee Press, 1969. Pp. 203. $7.50) Mary-Barbara Zeldin's translation into English of the Philosophical Letters and the Apology of a Madman, by the enigmatic Russian intellectual leader of the early nineteenth century, Peter Yakovlevich Chaadayev makes available in English for the first time the thought of this figure whose small corpus of writings circulated mostly in manuscript during his own lifetime and waited over a hundred years after his death for their complete translation in their original French. Historically Chaadayev is important as a mediator between Westernizers and Slavophiles in this initial period of the nineteenth-century Russian intellectual awakening. Chaadayev himself remained aloof from either of these parties, was appealed to by both of them and became himself a kind of martyr to intellectual freedom. His own view of Russian-Western relationships incorporates this problem most remarkably into a theological vision of the "education of the human race." Philosophically Chaadayev stands as a unique and somewhat eccentric synthesizer of German idealism with the Christian concept of salvation history. Perhaps the most remarkable insight to be gained by reading these long-buried essays is the ease with which an Eastern Orthodox Christian versed in Patristic hellenism could fuse the ideas of a paedagogy of the human race in Lessing, Herder and Schiller and read this as an expression of an Irenaean doctrine of the progressive development of a mankind through the mediation of the primordial Logos; an Alexandrian idea of the paedagogy of Christ in history and a Eusebian doctrine of Christian universal empire. In so doing this Russian thinker also reveals to what an extent the German idealist movement itself was grounded on much older syntheses of Christian thought. In the process, however, Chaadayev also shows that nineteenth-century men could only appropriate this heritage anew by taking the great credal themes of revelation, Christi, the church and the Kingdom of God and reissuing them in a secularized, humanistic dress, as a philosophy of history. Chaadayev's basic thesis is that knowledge is a divinely-given deposit of certain fundamental primordial ideas, which man would not have arrived at through his own unaided powers, but rather possesses as an imprint upon the mind of the first man implanted by the Creator. Chaadayev weds the western philosophical concept of a fundamental a priori with a doctrine of primordial revelation, revealing the foundation of man himself in the divine Logos. This primordial deposit of ideas existed in BOOK REVIEWS 495 the first man only as a rudimentary 'image' of God. It is only through historical development that man grows to full stature in these truths whereby he attains to the completed 'likeness' of God. These truths, together with their historical development, are passed down by a historical succession, which is not an ecclesiastical succession, but a succession of the human family. These truths are periodically renewed by the advent of certain extraordinary individuals who exemplify them to a high degree, and by certain elect nations who are divinely designated as their culture-bearers. The Jews of the Old Testament were that culture-bearer in antiquity, and, since the time of Jesus Christ, it is Christendom which stands for and bears the development of this primordial truth as it has been renewed and set forth in archetypal perfection by Christ. Chaadayev sharply down grades the role of the Greeks in this development, but does so in a manner remarkably similar to the ancient Christian apologists who stole Greek fire in order to bathe the... (shrink)

Pring-Mill's study depicts the prevalent, but often neglected worldview of the Middle Ages, according to which the macrocosm is a chain of created being ascending from the four elements of the material world to the numerologically structured celestial spheres up to the creator himself. Pring-Mill's work reveals a fundamental correspondence between the three major religions: medieval Christians, Jews and Muslims all sought to describe their religious beliefs using the structures of the macrocosm. Ramon Lull's (1232-1316) philosophy makes use of this (...) idea in order to render Christian doctrine intelligible. In his dynamic conception, man is depicted as a microcosm, thus becoming the archetype of the macrocosm and, at the same time, the image of divine trinity. Pring-Mill's study, therefore, is not only a guide to Llull's complete oeuvre, but also an introduction to medieval thinking in general. Pring-Mills Studie beschreibt das herrschende, aber oft vergessene Weltbild des Mittelalters: die Vorstellung vom Makrokosmos als einer Kette des geschaffenen Seins, die von den vier Elementen der materiellen Welt uber die Himmelsspharen nach numerologischen Strukturen zum Schopfer selbst aufsteigt. Dabei kann er eine fundamentale Ubereinstimmung der drei grossen Religionen aufzeigen: Durch die Strukturen des Makrokosmos suchten Christen, Juden und Muslime gleichermassen, ihre religiosen Uberzeugungen darzustellen. Auch die Philosophie Ramon Llulls (1232-1316) bedient sich dieser Vorstellung, um die christliche Lehre verstandlich zu machen. Der Mensch wird in einer dynamischen Auffassung als Mikrokosmos beschrieben. Dadurch wird er zum Urbild des Makrokosmos und zum Abbild der gottlichen Dreifaltigkeit. Die Studie Pring-Mills ist damit nicht nur ein Wegweiser in das Gesamtwerk Llulls, sondern auch eine Einfuhrung in das mittelalterliche Denken uberhaupt. (shrink)

Is religion a positive reality in your life? If not, have you lost anything by forfeiting this dimension of your humanity? This book compares the theology of Tillich with the psychology of Jung, arguing that they were both concerned with the recovery of a valid religious sense for contemporary culture. _Paul Tillich, Carl Jung and the Recovery of Religion_ explores in detail the diminution of the human spirit through the loss of its contact with its native religious depths, a problem (...) on which both spent much of their working lives and energies. Both Tillich and Jung work with a naturalism that grounds all religion on processes native to the human being. Tillich does this in his efforts to recover that point at which divinity and humanity coincide and from which they differentiate. Jung does this by identifying the archetypal unconscious as the source of all religions now working toward a religious sentiment of more universal sympathy. This book identifies the dependence of both on German mysticism as a common ancestry and concludes with a reflection on how their joint perspective might affect religious education and the relation of religion to science and technology. Throughout the book, John Dourley looks back to the roots of both men's ideas about mediaeval theology and Christian mysticism making it ideal reading for analysts and academics in the fields of Jungian and religious studies. (shrink)

Although Kant had a high regard for Jesus as a moral teacher, interpreters typically assume that his philosophy disallows belief in Jesus as God. Those who regard Kant as a moral reductionist are especially likely to offer a negative construal of the densely-argued subsection of his 1793 Religion that relates directly to this issue. The recent “affirmative” trend in Kant-scholarship provides the basis for an alternative reading. First, theologians must regard Jesus as human so that belief in Jesus can empower (...) believers to become good. Second, theologians may refer to Jesus as divine by identifying his disposition as exemplifying the “archetype of perfect humanity.” Third, Judeo-Christian history poses an empirical problem that theologians can solve by interpreting Jesus’s divinity according to the schematism of analogy. While this does not constitute a robust (identifiably Christian) doctrine of Jesus’s divinity, it does provide clear guidelines for formulating such a tenet of historical faith. (shrink)

The author returns to both Polish and German cultural sources and depictions of rebellion. In Polish culture the basic, even archetypical depiction of warriors comes from Zygmunt Krasiński’s Un-divine comedy [Nie-Boska komedia]. For the German culture it is The Robbers, written by Friedrich Schiller. Both dramas are characterized by the author as cultural models of rebellion and revolution for the two countries. The problems depicted in both books have not only become historical, old and resolved, but they are present (...) in the current times. Due to this fact, the questions of how to change them remain. Since the questions recur it is worth coming back to the culturally depicted solutions. (shrink)

This paper offers a reinterpretation of the divine as embodied by the Semitic goddess Lilith, she who has been represented and misrepresented in a variety of sacred texts. Working with Lilith as both symbol and archetype, I will analyze texts in which she appears, tracing her historical development and metamorphosis from goddess to demon to symbol of independence and open sexuality. As part of this analysis, I will discuss how Lilith's demonization was designed to keep women alienated from (...) their own 'original sources' of power and spiritual authority. The essay concludes with an appreciation of feminist texts, including the first midrash or reinterpretation of the Alphabet of Ben Sira, and more recent work. I also bring in feminist scholars' reclamation of the Sacred Feminine through poetic/liturgical responses to damaging canonical texts. My paper argues that this literature, too, should be regarded as 'sacred text,' since these women-centered writings have become texts of empowerment for contemporary women as well as part of their spiritual practice. (shrink)

The article is an attempt at a philosophical interpretation of the literary text. Its task is to identify the principles of the human self, which are presented in classical literature, in Homer’s “Iliad” and “Odyssey” and Dante’s “Divine Comedy”. The study provides an analysis of the archetypal narrative structure to which the model of human development with three components is applied. The correspondence of the heroes to this typology, which is not the final measure of the human, but resembles (...) the “ideal types” according to Max Weber, has been traced in the research. The dynamics of the development of the inner world of a human being, which corresponds to the plot of the journey, is analyzed. That is not a journey only in physical space, but an inner path too that a person overcomes in a gradual process of self-awareness. It has been found that the works of Homer and Dante can be interpreted as not implying a developed and independent personality. On the other hand, the characters demonstrate the key factors of change that occur within the one who forms the traits of self-sufficiency. The study succeeds in constructing a psychological map that allows outlining not a stable type, but rather different personality horizons. There are certain human aspirations of the man to be the creator of the self. However, such motivations involve not only a number of arbitrary manifestations of human beings but also the establishment of a measure for themselves. Initially, these intentions are carried out without self-absorption, reflection, and self-assessment. After all, unrestrained and unbalanced human temperament for a long time remains subject to higher forces and is significantly limited by this supreme power. Nevertheless, a human eventually comes to the need for self-knowledge and establishes a balance between rational and unconscious manifestations. People succeed in getting out of the circle of self-forgetfulness by overcoming various forms of alienation, loneliness, narcissism, self-contradiction, negligence, arrogance. Self-control is achieved by truth about oneself, overcoming fear, recognizing the effects of temptation and passion. The human attitude to the Other becomes possible due to freedom and love as cardinal manifestations of the active component of the self. (shrink)

As a libertarian studying, embracing, and teaching a philosophy of individual freedom, John Hospers, like many of us, was heavily influenced by the philosophical writings of Ayn Rand. Rand’s major novels The Fountainhead and Atlas Shrugged continue to delight and empower readers through embracing the heroic creator or inventor, technological and scientific progress, and the competent individual. These are some of the archetypes of the Randian hero. At the other end of the scale were the incompetent looters and moochers who (...) could only function in her world by controlling those with ability and the savages of ancient or undeveloped cultures who could not comprehend ability, seizing the means of progress before killing the inventor, then retreating into mysticism and magic. Rand was not an archaeologist and wrote at a time before scholars of prehistory focused on the rational and productive aspects of ancient civilizations upon which enabled the present to emerge in fits and starts. These aspects include technology, record keeping, maritime trade, and pre- monetary economies. This paper will consider the emergence of globalized connectivites in the Mediterranean during the Late Bronze Age (ca. 1700-1300 BCE) which was arguably the first age of globalization in human history. It was also one of the first ages of social acceleration characterized by a confluence of increasing technological and economic interdependency, yet fragile in its susceptibility to climate change, plagues, and authoritarian city-states and small empires ruled by kings claiming divinity or divine authority. Thus, the Late Bronze Age was also an economically fragile era with a high concentration of wealth distributed among supra-regional global elite plutocrats unified more by wealth and shared symbolism than by cultural tradition or ideology. This era was susceptible to populist resistance in the form of piratical activity and banditry. This paper explores the globalist and populist aspects of the ancient Mediterranean. In doing so, I suggest that some globalized elites of the present day perpetuate another Randian archetype, the moochers and looters. In doing so, it transcends ideology to focus on how the non-productive in current society acquire vast concentrations of wealth and power. (shrink)

Plato’s statements on art have met with countless commentators and almost as many different interpretations. In most cases, comments and hints that are scattered through various dialogues are taken out of context and played off against each other – depending on whether the intention is to portray Plato as a modern art lover or as an ageing political reactionary. In the face of the confusing range of contending opinions, there is an urgent need to examine and clarify the textual basis (...) in Plato. For this purpose, a meticulous analysis of Book 10 of the Politeia is initially carried out – the only part of the corpus of Plato’s works that is concerned with art in detail and exclusively. The results are surprisingly clear. The corrupting and dangerous aspect of art is not attributed to individual artists or a specific artistic orientation, nor to the style of the depiction, nor to the content that is narrated or presented; instead, it is ascribed to its essential nature as the μίμησις of a μίμησις. Since even the objects of sense perception are imitations of the archetypal Ideas, which are ultimately accessible only to rational cognition, the artist is an imitator of something imitated. He merely touches on the appearance of a reality that is in turn already a defective, mutable and ephemeral imitation of the only true, immutable and eternal archetypal Ideas. As the imitation of an imitation, art is insurmountably distant from truth and knowledge, ontologically and therefore also epistemologically worthless and useless – and also damaging, because it attempts to shackle us and domesticate us at a level three steps below truth. However, it not only holds us captive, but also corrupts us even further by appealing not to reason, but to the lower part of the soul with its desires and affections. It is because of this that it is corrupting and dangerous, initially for the individual character and individual spiritual welfare, and ultimately – through the individual – also for human society as a whole. Art thus creates precisely the situation which for the philosopher represents the fundamentally distorted condition from which he is attempting to liberate people. Art is constantly re-fastening the shackles that the philosopher releases. This is why art has to be excluded from Plato’s ideal state, with philosophy alone taking its place. The condemnation of all forms of art could not be expressed more clearly. Despite this, repeated efforts have been made to weaken the condemnation or even disprove its existence, either in order to save art from Plato or, conversely, to save Plato from condemning art. To achieve this, alleged contradictions between Books 10 and 3 of the Politeia have been pointed out ; a differentiation or alteration in Plato’s understanding of the concept of μίμησις has been postulated; and reference has been made to passages in Plato’s works in which, it is claimed, the philosopher concedes that art has direct access to the world of the Ideas or in which he speaks of the artist’s divine inspiration , as well as the numerous passages that discuss Beauty . Finally, it is claimed that Plato did not condemn all art, but only a certain contemporary trend in art , or more generally, only illusionistic art in contrast to an abstract form of art – namely Egyptian art . In the second part of the study, these lines of argumentation are discussed individually and in detail and their content is tested. In each case, the findings obtained initially in the analysis of Book 10 of the Politeia are confirmed. The present study does not offer any new hypotheses; instead, its goal is to use a detailed and differentiated examination of the relevant texts to clearly distinguish Plato’s view of art from later neo-Platonic views, as well as from obfuscations created by modern interpreters, in order to obtain a secure basis for future investigations of Plato’s view of art in particular, as well as of ancient aesthetics in general. The extensive review of the secondary literature also documents part of the history of twentieth-century scholarship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erictho and Demogorgon: Poetry against Metaphysics DAVID QUINT Epic without the gods? The Roman poet Lucan (39–65 ce) created a secular counter-epic inside classical epic, removing the genre’s usual pantheon of Olympian deities and replacing them with Fortune. His Bellum civile (titled De bello civili in manuscripts, alternately titled Pharsalia) a poem about the conflict between Julius Caesar and Pompey, thereby delegitimizes the emperors who succeeded the dying Roman (...) republic, including Nero, the reigning emperor of Lucan’s day.1 They are not part of a divine plan: no such plan has ever existed. In an epic where the gods are silent or refuse to speak, Pompey’s son, Sextus, anxious to know the future, has to seek other means. In Book 6, he consults the Thessalian witch Erictho about the outcome of the approaching battle in Pharsalia. She reanimates the corpse of a dead soldier on Pompey’s republican side and makes it talk (BC 6.419–830).2 Lucan’s scene of necromancy gave birth to a major antimetaphysical strain in the European literary tradition. Among others, Dante, Cervantes, Marlowe, Spenser, Goethe, and Shelley confronted this episode of the Pharsalia and pondered its implications. Erictho’s magic is a figure for poetic making itself. It turns the supernatural into theater— the divine machinery of epic exposed as a deus ex machina— and these authors’ responses to Erictho will shift from epic into dramatic forms. In place of the gods, in place of the epic visit to the underworld, particularly in place of and in response to Aeneas’s trip to the realm of the dead arion 28.2 fall 2020 2 erictho and demogorgon in the corresponding Book 6 of the Aeneid, Lucan presents Erictho’s macabre performance: human witchcraft and intimations of an alternate, eerie numen residing in the earth, a force of nature. Subsequent readers would give this latter power a name: Demogorgon.3 Lucan links republicanism and freedom to a kind of atheism and to historical contingency. He unmasks and strips the props of religion from Caesarism and monarchy. (In vain for the poet: Lucan was forced to commit suicide in 65 ce, after he was implicated in the failed Pisonian conspiracy against Nero.) Lucan desacralizes poetry itself, which here confesses its limits, which are the limits of human mortality, even as Erictho seems, however briefly, to overcome them. No, poetry cannot literally raise the dead: it is a magic trick that makes the words on the page form into images, take life, and speak to us. Lucan answers the criticisms the philosopher and theologian make to poetry by openly acknowledging the false bottom of the hat from which poetry pulls its rabbits. It has no access to a real bottom, an underworld beyond death; it is all representation.4 The philosopher and the theologian may be poets no less than he is, but they do not want to know it, too busy, perhaps, in supporting tyranny over human minds and bodies. Plato and Augustine are two such critics on either historical side of Lucan, and they help us to understand the stakes of the Roman poet’s project. Both were dissatisfied with literature and they wanted to be something more than the great rhetoricians that they were. In the Symposium, Plato demystifies the archetypal myth of poetry, the singing of Orpheus that sought to bring Eurydice back from death: the gods sent Orpheus away from Hades empty-handed and showed him the mere shadow [eidolon] of the woman he had come to seek: Eurydice herself they would not let him take, because he seemed, like the mere minstrel that he was, to be a lukewarm lover, lacking the courage to die as Alcestis died for love, and choosing rather to scheme his way, living, into Hades. And it was for this that the gods doomed him, and doomed him justly, David Quint 3 to meet his death at the hands of women. (179d)5 Behind the words of his shallowly sentimental speaker Phaedrus we can detect Plato’s familiar hostility to poetry, his objection in Book 10 of the Republic that the poet merely imitates the appearances of things and is... (shrink)

JONATHAN EDWARDS NAMES HIS CHRISTOLOGICAL ACCOUNT OF THE VIRtue of humility as an "excellency proper to creatures" rather than of God's divine nature, which differentiates it from "true virtue" or benevolence. He presents the incarnate Christ as the moral archetype for humility. This has two implications for contemporary ethics. First, it suggests that we would have needed God's revelation in Christ to understand and pursue the virtues, even if the Fall had not occurred. Second, it indicates that there (...) is a necessary relation between love and humility in the Christian life. (shrink)

From the perspective of Christian theology, divine freedom is the paradigm of human freedom, but it is also completely unlike ours in its infinity. This is the paradox of the analogy of being: in its infinity, the Archetype of our being is also completely other. In contrast, likeness between contingent beings is limited in that each being is individuated yet similar to those of like species. No matter how alike beings are, “unlikeness” increases with generic distance. At the (...) asymptotic limit, the Archetype is infinitely unlike us, but remains the ultimate blueprint for each being. If as Archetype, God’s infinite freedom is qualitative of infinite being, then all finite beings must possess freedom to some finite degree. Herein lies the problem treated in this paper: how can bothanimate and inanimate being possess freedom? To answer this question, the author draws upon the first volume of part two of Hans Urs von Balthasar’s sixteen volume trilogy, Theo-logic: The Truth of the World. (shrink)

The rational conceptual philosophical thinking originated in ancient Greece on the basis of mythical imaginary thinking. The bipolar-complementary thinking still had its place in Miletian philosophy, although not in the form of images, but in the form of conceptual variants and archetypal representations of archaic ontology. The Dyonisian cult and orfism contributed to the development of rational thinking through the realization of the individuality and the notion of the only genuine divinity - Zeus, which at the same time embodied the (...) whole universe. On the basis of these ideas Xenophanes built up his conceptual image as the fixed and the only essence of the universe, and Pythagoras his conception of fixed and unchangeable numeral essences. Then came Parmenides, who founded the metaphysics through the determination of the duality of One and Many, the being and the non-being. It was a dichotomic break and turning away of the bipolar-complementary thinking from the dualistic type of thinking. This author's claim is supported by Parmenides criticism of his predecessors. Parmenides elevated the Being to a "pure concept" or abstraction. This radical turn in the history of Greek thinking meant not only the dismissal of the previous philosophical views, but also the beginning of the rational abstract thinking on the basis of logical laws, namely the law of excluded middle and the law of contradiction. (shrink)

In his account of Plato’s ideas in the first book of the “Transcendental Dialectic”, “On the concepts of pure reason”, Kant, in describing how for Plato ideas were “archetypes of things themselves”, adds that these ideas “flowed from the highest reason, through which human reason partakes in them”.1 Later, in the section of the Transcendental Dialectic treating the “ideals of pure reason”, he again attributes to Plato the notion of a “divine mind” within which the “ideas” exist. An “ideal”, (...) Kant says, “was to Plato, an idea in the divine understanding”.2 But as the editors of the Cambridge University Press translation of the Critique of Pure Reason point out, the idea of a divine mind as container of the ideas was not Plato’s and did not originate until the “syncretistic Platonism from the period of the Middle Academy”. From there it “was later adopted by Platonists as diverse as Philo of Alexandria, Plotinus and St Augustine, and became fundamental to later Christian interpretations of Platonism”. (shrink)

The nature of the real self -- Whole person and duality -- How nature is dual -- Real self and false self -- A primary certainty -- Certainty in the self -- The original cogito argument -- Overcoming representation -- The theory of right and wrong -- The defining principle -- Narrowing the definition -- The centrality of reason -- A question of proof -- Reason and intelligence -- A universal activity -- Human and animal consciousness -- Anti-spiritual assumptions -- (...) Intellect and religious ideals -- Creativity and spirituality -- The anomaly of creativity -- An archetypal view of creation -- Creativity resistant to systems -- Conforming to the divine pattern -- Happiness and the extension of time -- Happiness distinct from pleasure -- Implications for ascetic values -- Collective suffering -- Transcendence and normal experience -- The inner duality of consciousness -- The core of consciousness -- Theology and reductionism -- A radical conclusion -- The abstract and the concrete -- Common sense concreteness -- Mediation by living organisms -- Spirituality and power -- The freedom of the will -- Confusions about free will -- Free will and release from fate -- Arguments for free will -- Freedom and knowledge of truth -- The law of action and reaction -- Sources in scripture -- The causal principle and continuity -- What controls the world? -- Causality includes free will -- Choice of the lesser evil -- Apparent breaches of the law -- The insentience of the active faculties -- Cosmic reaction and judgement -- Consequences for modern religion -- Providence and fate -- Forms of cosmic order -- Providence and archetypal order -- Fate, providence, and salvation -- Fate and astrology. (shrink)

Alexander Nehamas and others have recently attempted to revive a conception of ethics that is centered on self-formation and the values of aesthetic coherence. This conception faces several difficulties, including the lack of fit between models of aesthetic coherence in literary works and individual lives and an absence of determinate content. The argument of this paper is that both of these defects are absent from the work of one of the earliest and most vocal exponents of this conception of ethics, (...) Friedrich von Hardenberg (1772–1801), better known by his pseudonym “Novalis”. The paper begins by reviewing the growing consensus among scholars that Novalis makes a serious contribution to philosophy, and by pointing out the lack of attention paid to his moral philosophy. His conception of moral life as an infinite process of approximation the archetypal unity of the divine is then explicated in detail. Particular attention is paid to the manner in which his model of moral life and conception of aesthetic coherence avoids some of the difficulties faced by more recent theorists. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

At the outset of this paper, a couple of clarifications are in order: first of all, I will be concerned with the origin of the concept of God, not with the origin of various anthropomorphic depictions or purported incarnations of God, such as Osiris, Christ, Zeus, Krishna, or Azura-Mazda. Secondly, by the adjective “phenomenological” I mean to differentiate this analysis from other approaches which have a legitimacy of their own—the anthropological approach which is concerned with the sociocultural emergence of the (...) notion of a divinity; the psychological approach which traces the God concept to responses to the environment or to inner needs, drives, or archetypes; the semantical approach which focuses on the problems of reference and denotation in god language; and so forth. That being said, however, I should also explain that I intend my approach to be “phenomenological” not in a kind of Husserlian sense, i.e., as concerned specifically with discovering certain a priori grounds for the notion of God in human subjectivity itself, but in a Kantian-Hegelian sense, which is somewhat wider. In this latter sense, “phenomenological” means “connected with the basic experience of subject-object distinction in consciousness, and with the exigencies, characteristics and/or dynamics of that distinction.”. (shrink)

By Portuguese myths we mean several kinds of narratives, all of which actualize fundamental aspects of the Portuguese national imagination. Some are foundation narratives (Sâo Mamede, Ourique); others are historical facts that were sung so often over the years by Portuguese and foreign poets that they came to signify basic schemes of the human imagination (Inês de Castro's pure love, whose realization was frustrated by a fight between two men, father and son); other so-called Portuguese myths, on the contrary, are (...) built around concepts that give metaphysical shape to supposed characteristics that define the national soul (saudosismo, the doctrine of nostalgia, which attempts to define the Portuguese national soul as the search for a mythical initial unity that would create a wholeness in which contraries would be abolished; the Fifth Empire as its realization on Earth); other Portuguese myths express the supposed divine predestination of the people and of the Portuguese Man, based upon divine intervention in the founding of the nation in Ourique (the Fifth Empire that would be the Age of Spirit announced by Joachim de Fiore); still others are based on historically negative facts (King Sebastian and the defeat at Alcazarquibir) but transformed through archetypal elements to show the capacity for renewal out of the defeat, a renewal that goes beyond real historical renewal to include spiritual renewal of the Portuguese Man and his fatherland, which should produce the Fifth Empire conceived either in earthly or spiritual terms. To these myths I will add a legend preceding the formation of the nation, King Roderick's Legend, because it attempts to justify the loss of Visigothic Spain to the Arabs. (shrink)

Este artículo analiza el ‘nacimiento’ como dispositivo político en la obra de Hesíodo. En primer lugar, nos referimos a una dimensión política en la medida en que algunos nacimientos se despliegan en el marco de las relaciones de poder, en el escenario de las tensiones habituales inherentes a la dramática divina en su relato arquetípico; en segundo lugar, nos referimos a los efectos que tales nacimientos producen en el topos de la economía general del mito como logos explicativo. Este rastreo (...) tiene como fin mostrar que el mito constituye lo real y ayuda a la configuración simbólica de identidades e imaginarios. This article analyze ‘birth’ as a political device in Hesiod’work. In the first place, we refer to a political dimension insofar as some births unfold in the framework of power relations, in the setting of the usual tensions inherent in the divine drama in its archetypal account; secondly, we refer to the effects of such births on the topos of the general economy of myth as explanatory logos. This tracing is intended to show that the myth constitutes the real and helps the symbolic configuration of identities and imaginaries. (shrink)

Within the framework of this study, the transformation of anthropomorphic images in Medieval and Renaissance painting is analyzed. The visual art of this period is considered as a specific space of "conversation about man", which existed in parallel with discourses about God-man and Man-god. As a means of communication between man and God, the icon, using anthropomorphism in the image of the archetype, represented to the medieval man a certain path and a guide to his own salvation. Along with (...) individual anthropomorphic and naturalistic features, areal ones were also used in iconography, for example, reverse perspective, halo, "twisting of figures" and a number of others that set the symbolic content of the religious image. В В According to the author, the transformation of the icon into a painting in the XIII-XIV centuries was associated not only with the technical development of fine art (the widespread use of direct perspective, the use of camera obscura and oil paints), but also with significant changes that occurred in the intellectual space of Europe. The narcissistic turn in Renaissance art, expressed in the dissolution of the boundaries between the human and the divine, the maximum naturalization of religious content, as well as in the development of self-portraits, is, first of all, a turn from the discourse about God-man to the discourse about Man-God. Relying on philosophical sources, two independent positions (Ficino and da Vinci) on the nature of metamorphosis and the place of pictorial images in the description and definition of man are considered. (shrink)