M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable - in (...) case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

We have long been taught that the Enlightenment was an attempt to free the world from the clutches of Christian civilization and make it safe for philosophy. The lesson has been well learned. In today's culture wars, both liberals and their conservative enemies, inside and outside the academy, rest their claims about the present on the notion that the Enlightenment was a secularist movement of philosophically driven emancipation. Historians have had doubts about the accuracy of this portrait for some time, (...) but they have never managed to furnish a viable alternative to it-for themselves, for scholars interested in matters of church and state, or for the public at large.In this book, William J. Bulman and Robert G. Ingram bring together recent scholarship from distinguished experts in history, theology, and literature to make clear that God not only survived the Enlightenment but thrived within it as well. The Enlightenment was not a radical break from the past in which Europeans jettisoned their intellectual and institutional inheritance. It was, to be sure, a moment of great change, but one in which the characteristic convictions and traditions of the Renaissance and Reformation were perpetuated to the point of transformation, in the wake of the Wars of Religion and during the early phases of globalization. The Enlightenment's primary imperatives were not freedom and irreligion but peace and prosperity. As a result, Enlightenment could be Christian, communitarian, or authoritarian as easily as it could be atheistic, individualistic, or libertarian.Honing in on the intellectual crisis of the late seventeenth and early eighteenth centuries while moving from Spinoza to Kant and from India to Peru, God in the Enlightenment takes a prism to the age of lights. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

The article deals with the concept or the image of God in the Hebrew Bible and the various understandings and interpretations of it by Jewish thinkers through generations. The biblical text, full of contradictions and anthropomorphic assertions about God, was a source of discomfort for Jewish philosophers and theologians. Therefore, the sublimation and distillation of the text was necessary, and it was done by use of different hermeneutical methods. The article deals with various attributes of the biblical God, and presents (...) different theological and philosophical interpretations of that issue by major Jewish thinkers. (shrink)

This essay explores classical rabbinic literature's understanding of the prohibition of bloodshed alongside its understanding that "the image of God" corresponds to the physically embodied individual. This conception generates radical implications so that, apart from the narrow instance of a direct aggressor with intent to kill or rape, it is never legitimate to cause the death of any person, even in pursuit of a supposed "greater good." While notions of war and execution are retained in principle, the requirement of direct (...) divine sanction for such actions neutralizes them in practice, removing them from the domain of human judgment and justification. (shrink)

One book in a series of four, each offering fifteen lessons that encourage quality, heart-shaping quiet time to help readers grow in faith.

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Analyzing writings ranging from the Puritans to the present day, Loving God's Wildness traces the effects of Christian theology on America's ecological imagination, revealing the often conflicted ways in which Americans relate to and perceive the natural world.

One of the most powerful traditions of the Jewish fascination with language is that of the Name. Indeed, the Jewish mystical tradition would seem a two millennia long meditation on the nature of name in relation to object, and how name mediates between subject and object. Even within the tide of the 20th century's linguistic turn, the aspect most notable in - the almost entirely secular - Jewish philosophers is that of the personal name, here given pivotal importance in the (...) articulation of human relationships and dialogue. The Name of God in Jewish Thought examines the texts of Judaism pertaining to the Name of God, offering a philosophical analysis of these as a means of understanding the metaphysical role of the name generally, in terms of its relationship with identity. The book begins with the formation of rabbinic Judaism in Late Antiquity, travelling through the development of the motif into the Medieval Kabbalah, where the Name reaches its grandest and most systematic statement - and the one which has most helped to form the ideas of Jewish philosophers in the 20th and 21st Century. This investigation will highlight certain metaphysical ideas which have developed within Judaism from the Biblical sources, and which present a direct challenge to the paradigms of western philosophy. Thus a grander subtext is a criticism of the Greek metaphysics of being which the west has inherited, and which Jewish philosophers often subject to challenges of varying subtlety; it is these philosophers who often place a peculiar emphasis on the personal name, and this emphasis depends on the historical influence of the Jewish metaphysical tradition of the Name of God. Providing a comprehensive description of historical aspects of Jewish Name-Theology, this book also offers new ways of thinking about subjectivity and ontology through its original approach to the nature of the name, combining philosophy with text-critical analysis. As such, it is an essential resource for students and scholars of Jewish Studies, Philosophy and Religion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kenneth R. Seeskin THE COMEDY OF THE GODS IN THE ILIAD "... no animai but man ever laughs." Aristotle, De Partibus Animalium, 673a8-9 No reader of the Iliad can fail to be struck by the great extent to which social relations among the gods resemble those which obtain among men. Zeus, the oldest and strongest of the Olympian deities, rules as an absolute monarchor patriarch. The "council" meetings over (...) which he presides are not unlike those which occur on earth. Like Agamemnon, he must assert his authority from time to time; and, like any mortal king, he must deal with problems relating to jealousy, adultery, dishonesty, and revenge. To the extent that the gods differ from mortal heroes, those differences are similar to the ones which separate mortal heroes and commoners. The gods occupy the highest place on the scale of excellence, beauty, and social status, mortals with divine ancestry occupy the next position, and so on down the line. Although the above picture is accurate in many respects, there is something about it which is bound to leave one cold, for, unlike his mortal heroes, Homer's gods often appear as clowns. One need only recall scenes like Hephaestus' bumbling attempt to wait on the other immortals (1.584 ff.), Hera's seduction of Zeus (14.157 ff.), or the famous theomachy (21.385 ff.) to see that, ironically, humans frequendy are more dignified than the gods they are trying to please. It was scenes like these which caused Longinus, in his essay On the Sublime, to remark that Homer appears to have made his men gods and his gods men (sec. 9). Now any long story is bound to contain comic relief. But for many authors (Shakespeare, for instance), comic relief is supplied by those whose social status is lower than that of the main characters, e.g., grave diggers, nightwatchmen, country bumpkins, or pettythieves. As Aristotle argued in the Poetics (sec. 2 and 5), comedy is an imitation of men worse than the average. In Book 2 of the Iliad, Homer does use Thersites 295 296Philosophy and Literature for comic effect; yet this scene is noteworthy for being the only one in the book which supports Aristotle's contention. In practically every other case, comedy is supplied by characters better than the average: it is supplied by the gods. Moreover, in the few cases where mortal aristocrats are involved in comic situations (e.g., the rambling speeches of Nestor), the teasing tends to be extremely mild. Farce and slapstick are reserved almost exclusively for the inhabitants of Olympus. Plato, for one, was outraged by passages where the gods look ridiculous and wanted them excised from the text. Not surprisingly, there is a tradition of modern scholars who feel a similar sense of outrage. Walter Leaf, for example, maintained that the theomachy is poorly written and thus not the work of Homer.1 Gilbert Murray argued that several of the scenes in question are in bad taste, exemplify the spirit of Milesian skepticism, and, again, are not the work of Homer.2 Wilamowitz constructed an elaborate theory which claimed that these passages are the work of a later rhapsode who probably was associated with Archilochus.3 Finally, George Calhoun, who exposed the flaws of those just mentioned, concluded that such passages show the influence not of a later period of skepticism but of an earlier, less refined period and were composed merely to please Homer's audience.4 Since it is not my purpose to enter the long debate over the authorship and unity of the text, let me state the guiding assumptions of this essay dogmatically. First, the passages in question are not interpolated and serve important artistic functions. Second, for whatever reason Homer decided to include them, their presence raises profound moral and religious questions. From the outset, it is clear that any anthropomorphic conception of the gods will have to fail in one important respect. The gods are immortal, humans are not. Thus even the lowliest human can do something which no god can—risk his life. For all of their quarrels, deceptive schemes, and forays into the thick of the fighting, the gods are... (shrink)

One of the main points of interests in the apocalyptic literature is the salvation of God’s people. The topic is shown from a variety of perspectives. One of them is exceptional and very prominent in the apocalyptic genre – this is God’s victory. The theme of victory is a complex one. It consists of not only terminology and imagery of war, fight, rivalry, but also judgement, competition and kingdom. All of these motifs are being intertwined in the apocalyptic victory of (...) God. The problem of God’s victory can be seen as schematic, which is present in many texts from the apocalyptic genre. Altering variables inside this scheme results in a different outlook on the salvation. It is used to give the shape of the narrative in the text. From the variety of apocalyptic literature, an exceptional place is given to the Apocalypse of John. The theme of God’s victory there, although it uses the Jewish traditions, is rewritten and upgraded to a new unique form. The goal of this article is to investigate how the mentioned schematic realises through different examples of apocalyptic texts and how it is incorporated and redefined in the Book of Apocalypse. What is God’s victory? Who is being conquered? With what means? What does it all mean to the salvation of people? These are the questions, which the author will try to answer in the article. (shrink)

Judaism is often described as a religion that tolerates, even celebrates arguments with God. In Pious Irreverence, Dov Weiss has written the first scholarly study of the premodern roots of this distinctively Jewish theology of protest, examining its origins and development in the rabbinic age (70 CE-800 CE).

In lieu of an abstract, here is a brief excerpt of the content:Explaining Away the Greek Gods in IslamJohn WalbridgeOf the angels newly fallen from heaven, Milton tells us:Nor had they yet among the Sons of Eve Got them new Names...Men took... Devils to adore for Deities: Then were they known to men by various Names, And various Idols through the Heathen World.Among the devils worshipped as gods among the ancients were the Olympians:Th’ Ionian Gods, of Javans Issue held Gods, (...) yet confest later then Heav’n and Earth Thir boasted parents; Titan Heavn’s first born With his enormous brood, and birthright seis’d By younger Saturn, he from mightier Jove His own and Rhea’s Son like measure found; So Jove usurping reign’d: these first in Creet And Ida known, thence on the Snowy top Of cold Olympus rul’d the middle Air Thir highest Heav’n; or on the Delphian Cliff, Or in Dodona, and through all the bounds Of Doric Land....Paradise Lost, I: 364–65, 372–75, 508–19 [End Page 389]Milton’s assertion that the Greek gods were demons goes back to the centuries in which those ancient gods slowly yielded to the new and jealous triune God of the Christians. Augustine in The City of God does not deny the reality of the old gods but identifies them as dead heroes or as demons. The power of the old gods was still manifest to the Christians of antiquity; it was their moral worth, not their existence, that was to be challenged.Such an interpretation is not found in Muslim accounts of the Greek gods. For all practical purposes Greek polytheism was entirely dead by the time Islam came onto the scene. Indeed, even Arabian polytheism, though still vigorous when Muhammad began his prophetic career, died out within three decades of the proclamation of Islam. Pious Muslims might be offended by the icons in Christian churches, but the temples of the Greek gods were gone these three centuries or more, their statues broken up and their stones stolen to build churches. The other forms of polytheism with which Islam came into contact—Zoroastrianism (the most important), Buddhism, Hinduism, and gnostic religions like Manichaeism and Harranian Sabianism—could rightly be understood as forms of monotheism (or dualism). Only the occasional idol temple in some out-of-the-way place—the shrine of the god Zun or Zur in Zamindawar in Afghanistan, 1 for example—might illustrate pure idol worship, but such institutions were soon destroyed and posed little intellectual challenge. Thus, by the time highly intellectual forms of Islam came into being in the eighth and ninth centuries, there was no real idol-worshipping paganism to oppose. Despite the uncompromising monotheism of Islam, polytheism aroused little emotion for the generations of Muslims born after the passing of the Prophet’s companions. Shirk, polytheism, went on to have a rich history in Islamic thought, but it was idols of the soul, not idols carved from stone and wood, that stirred the imaginations and fears of serious Muslims.The Muslim contact with Greek polytheism was thus not with living pagans but with literary allusions in Greek philosophical and scientific texts. In late antiquity philosophy had been the last bastion of paganism, a fortress whose outworks may have been stormed perhaps but whose citadel still held out, manned by doughty and commited fighters like Proclus and Simplicius. But the fortress had at last fallen, and even the ancient philosophers had finally been brought to the baptismal font.The fact that they knew little more than the names of Greek gods was another factor preventing Muslim scholars from taking alarm at Greek polytheism. The obvious first question to ask when we examine what Muslims thought of the Greek gods is what they might have known about them. How indeed do we know about Greek religion? Mostly we know mythology from literature: Hesiod, Homer, Greek drama, and manuals of literature and rhetoric. None of [End Page 390] these sources were available to Muslims. The translators were not interested in literature, which they knew resisted translation, so even Homer appears in Arabic sources as a sage, one of a number of authors of wise sayings... (shrink)

Until recently, psychologists have conceptualised and studied trust in God (TIG) largely in isolation from contemporary work in theology, philosophy, history, and biblical studies that has examined the topic with increasing clarity. In this article, we first review the primary ways that psychologists have conceptualised and measured TIG. Then, we draw on conceptualizations of TIG outside the psychology of religion to provide a conceptual map for how TIG might be related to theorised predictors and outcomes. Finally, we provide a research (...) agenda for future empirical work in this area, as well as practical applications for counsellors and religious leaders. (shrink)

Peter Hodgson, the general editor and co-translator of Hegel’s Lectures on the Philosophy of Religion, presents a theological assessment and appropriation of Hegel’s thought on God and history in light of recent Hegel scholarship and post-modern, antimetaphysical, atheological literature. Hodgson acknowledges and reflects historical consciousness. His discussion and appropriation of Hegel are premised on the discreditation of the traditional scripture principle and the classic model of salvation-history. His reading of Hegel is center-left in its orientation and leanings, an open historicized (...) Hegelianism that is an alternative to right Hegelian metaphysical theology and to postmodern atheologies. (shrink)

Anselm Canterbury is rightly one of the philosophers who boldly set out to theologize through the use of ample possibilities of reason for rational interpretation of the most complex problems. This aspect of his work is covered differently, but without proper depth, in the scientific literature. The main purpose of this study is to carry out a deeper analysis of the rational approaches of this scholastic philosopher to the main problem of Christianity - the problem of God.

In lieu of an abstract, here is a brief excerpt of the content:Between God and the President: Literature and Censorship in North AfricaHafid Gafaiti (bio)Assassination is the extreme form of censorship.—George Bernard ShawThose who fight with the pen will perish by the sword.—Slogan of the Algerian Muslim fundamentalistsIf you speak up, you die. If you don’t speak up, you die. So, speak up and die!—Tahar Djaout, the first writer assassinated in the context of the current Algerian political crisisIn the West, (...) censorship has been understood for the most part as the state’s control over cultural production. Many critics in the postwar period, however, have argued that other forms of censorship, such as market censorship, are comparable to the actions of the state. The Christian right’s attacks on art in the United States in the 1980s and early 1990s together with Congressional moves to disempower and dismantle the NEA have generated a new set of debates about censorship in this country. It was understood that the extreme right sought to repress cultural productions carrying a message of ethnic and sexual difference, targeting the works by rappers, the photographer Mapplethorpe, Madonna’s music videos, and so on. The right provided rhetoric to support the privatization of public space, the control of language and public images, and the promotion of “safe” art.While many critics refer to this as the “new censorship,” structurally it is exactly the same as the “old” censorship, that is, state control intervening in the liberal subject’s absolute right to free expression. It appears that the dichotomy between the left’s claim for the absolute freedom of the artist and the right’s attempt to repress it is most often conceived in moral terms and is paradigmatic of the Western liberal oppositional categories used to describe censorship.This position views the relationship between art and censorship as either a bourgeois romantic opposition to political order or a corrupt collaboration by opportunistic apparatchiks. It leaves no room for what Michael Holquist, for example, calls “negotiation.” Moreover, it does not take into account the fact that—in Third World or socialist contexts, for example—the way certain intellectuals view their role vis-à-vis the state, society, and/or the people determines their degree of cooperation with censorship mechanisms.The problem with this Manichean vision is that it implies a notion of censorship that is ahistorical: it posits that there is an essential distinction between the censor and the [End Page 59] creator or free mind. On the one hand, as Miklos Haraszti accurately outlines, at least until very recently in the Eastern European context:Censorship is no longer a matter of simple state intervention. A new aesthetic culture has emerged in which censors and artists alike are entangled in a mutual embrace. Nor is it as distasteful as traditional critics of censorship imagine. The state is able to domesticate the artist because the artist has already made the state his home.[5]On the other hand, as Richard Burt rightly suggests:What counts as censorship is not always clear. Indeed, it is hard to see how one could call many contemporary cases censorship without either seriously distorting the traditional understanding of the term or redefining it to include so many practices—ranging from institutional regulation of free expression, market censorship, cutbacks in government funding for controversial art, boycotts, lawsuits, and marginalization and exclusion of artists based on their gender or race to “political correctness” in the university and the media—that the term is overwhelmed, even trivialized, its usefulness as a tool of cultural criticism called into question.[xiii]Recent events, not only in the United States but also in other parts of the world such as Algeria, the case on which I will concentrate, show that one cannot seriously conceive the question of censorship along the lines of closed, distinct, conceptual categories expressing absolute oppositions. In other words, it is necessary to take the concept of censorship out of the realm of morality and locate it in the world of history, to displace it from the framework of philosophy and move it to the context of culture.In this essay, I will analyze the exercise of censorship in Algeria in... (shrink)

The doctrine of God is central to theology for it determines the way in which other regions of Christian doctrine are articulated, yet work on this topic in its own right has been occluded recently by treatments of the Trinity or divine passibility. This collection of specially commissioned essays presents major treatments of key themes in the doctrine of God, motivated by but not restricted to the work of Professor Paul S. Fiddes to whom it is offered as a Festschrift. (...) It includes invigorating discussions of the biblical and non-biblical sources for the doctrine of God, and the section on 'Metaphysics and the Doctrine of God' examines some of the most important conceptual questions arising in contemporary theological debate about the being and nature of God, and God's relations to the world. The final section of the book on 'God and Humanity' will be highly relevant to scholars working in the fields of theological anthropology, moral and political theology, on inter-faith relations, on theology and literature, or who are interested in the impact of contemporary science on the doctrine of God. The introduction relates the essays in the book to the work of Professor Fiddes and to wider debates in Christian doctrine. This volume brings together a team of internationally distinguished scholars from a wide range of theological, philosophical, and religious perspectives, and it will stimulate fresh thinking and new debate about this most central of topics in Christian theology.--Publisher. (shrink)

Today, there are different understandings of the first article on the content of the Christian faith, for which an analysis from a theological perspective is necessary. This research sought to reveal the meaning of the first article on the content of the Christian faith in recent theological works that have been produced, through the use of a hermeneutic exercise, conducting a bibliometric and categorical analysis and using NVivo software to analyse the qualitative data. We concluded that the recent theological literature (...) addresses the meaning of the first article of the Christian faith based on the existence, concept and definition of God and his attributes, as well as his power, behaviour, creation, revelation and reign. Although there is little extant material compared to other topics or areas of knowledge that can be explored using these tools, this fact is explained because, normally, theologians are not interested in publishing in high-impact journals. The way of approaching God in contemporary literature can be enriched by taking into account specific contexts, such as poverty, discrimination, suffering, violence, human trafficking, immigration and political realities, in such a way that it is not only a metaphysical reflection of God but also a historical and immanent and even an interreligious research that broadens the concept of the Christian God and answers questions that contemporary society asks in daily life. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented through (...) the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

In the late 1940s and early 1950s, there emerged a radically new kind of music based on recorded environmental sounds instead of sounds of traditional Western musical instruments. Centered in Paris around the composer, music theorist, engineer, and writer Pierre Schaeffer, this became known as musique concrète because of its use of concrete recorded sound fragments, manifesting a departure from the abstract concepts and representations of Western music notation. Furthermore, the term sound object was used to denote our perceptual images (...) of such fragments. Sound objects and their features became the focus of an extensive research effort on the perception and cognition of music in general, remarkably anticipating topics of more recent music psychology research. This sound object theory makes extensive use of metaphors, often related to motion shapes, something that can provide holistic representations of perceptually salient, but temporally distributed, features in different kinds of music. (shrink)

Part of the greatness of great literature consists in the profound, philosophic ideas the works contain. These ideas may not be unknown to philosophy but, when rendered in literary form, they gain an aesthetic force often lacking in the philosophic treatise with its careful train of reasoning.In this insightful study, Burton Porter explores the philosophic content of some outstanding literary works, analyzing and evaluating the ideas that drive the narrative.Porter first examines the concept of free will and determinism in Melville's (...) Moby Dick, placing the quest for the white whale within the context of foreordination, hubris, prophecy, and defiance of divine power. Connections are also drawn to Euripides' Medea and Shakespeare's King Lear as well as the Old Testament.The good and the right are traced in Anouilh's Antigone and Tolstoy's Anna Karenina, showing the philosophic antagonisms in the literature and in the conflicted minds of the authors.Voltaire' Candide and Dostoevsky's The Brothers Karamazov are then explored insofar as they express the problem of evil--the tension between human suffering on earth and belief in a benevolent, wise, almighty God.Finally, the nature of the self is investigated in Rilke's The Notebooks of Malte Laurids Brigge and Kafka's The Metamorphosis, focusing on identity and the mind-body problem.Porter makes philosophy come alive by showing its expression in art and revealing the depth of ideas that make literature compelling.Burton Porter (Springfield, MA) is currently professor of philosophy at Western New England College and a visiting professor of philosophy at Mt. Holyoke College. He is the author or editor of numerous books including Philosophy Through Fiction and Film, The Voice of Reason, and Reasons For Living. (shrink)

In this pathbreaking book, which includes a powerful new translation of Hesiod's Works and Days by esteemed translator David Grene, Stephanie Nelson argues that a society's vision of farming contains deep indications about its view of the human place within nature, and our relationship to the divine. She contends that both Hesiod in the Works and Days and Vergil in the Georgics saw farming in this way, and so wrote their poems not only about farming itself, but also about its (...) deeper ethical and religious implications. Hesiod, Nelson argues, saw farming as revealing that man must live by the sweat of his brow, and that good, for human beings, must always be accompanied by hardship. Within this vision justice, competition, cooperation, and the need for labor take their place alongside the uncertainties of the seasons and even of particular lucky and unlucky days to form a meaningful whole within which human life is an integral part. Vergil, Nelson argues, deliberately modeled his poem upon the Works and Days, and did so in order to reveal that his is a very different vision. Hesiod saw the hardship in farming; Vergil sees its violence as well. Farming is for him both our life within nature, and also our battle against her. Against the background of Hesiods poem, which found a single meaning for human life, Vergil thus creates a split vision and suggests that human beings may be radically alienated from both nature and the divine. Nelson argues that both the Georgics and the Works and Days have been misread because scholars have not seen the importance of the connection between the two poems, and because they have not seen that farming is the true concern of both, farming in its deepest and most profoundly unsettling sense. (shrink)

Lewisian theism is the view that both traditional theism and Lewis’s modal realism are true. On Lewisian theism, God must exist in worlds in one of the following ways: God can be said to have a counterpart in each world; God can be said to exist in each world in the way that a universal can be said to exist in worlds, i.e. through transworld identity; God can be said to be a scattered individual, with a part of God existing (...) in each world; and, God can be said to exist in each world, through His existing from the standpoint of each world. In the literature, – have been rejected as viable options. I grant that and are not viable. However, I believe that and have been too hastily rejected. Herein, I develop ways to respond to objections to and, and conclude that is a viable option for Lewisian theists. (shrink)

God is omniscient; therefore, He knows that ‘the flower in my hand is red.’ If God knows that ‘the flower in my hand is red,’ then He knows it perceptually. God does not know anything perceptually. It is clear that the set of propositions – form an inconsistent triad. This is one of four problems with which Avicenna was engaged concerning God's knowledge of particulars, which I call the problem of perceptual knowledge. In order to solve PPK and three other (...) problems, Avicenna has developed a theory concerning God’s knowledge of particulars. Secondary literature around Avicenna’s theory of God’s knowledge of particulars has mostly directed its attention to give an account of Avicenna’s positive theory rather than the problems which that theory was designed to solve. But this paper will not do the same thing as this secondary literature. In contrast, in this paper, I will concentrate on the characterization of one of the problems, i.e., PPK, because of which Avicenna has presented his positive theory of God’s knowledge of particulars. In short, this paper aims to show why Avicenna deems explaining God’s knowledge of, say, the redness of a flower, via his accepted theory of perception as problematic. In this regard, I will extract three versions of PPK based on Avicenna's philosophy and through it will shed some light on Avicenna’s theory of God’s knowledge of particulars. (shrink)

In the past decade a line of thought has developed that, in addition to the "fetishized sublime object" Judith Plotz describes in The Romantic Vocation of Childhood,1 there are other versions of "the child" at play in William Wordsworth's work.2 As Alan Richardson puts it, "If Wordsworth's 'Mighty Prophet' and Lamb's 'child angel' have lost their valence, other tendencies within the Romantic representation of childhood remain . . . vital, perhaps even indispensable."3 This essay focuses primarily on Wordsworth's more down-to-earth (...) accounts of childhood, accounts which, fully emerging in the 1799 Prelude, have affinity with work done by past and present evolutionary scientists. The biological concept of human .. (shrink)

Although Eugen Fink often reflected upon the role religion, these reflections are yet to be addressed in secondary literature in any substantive sense. For Fink, religion is to be understood in relation to “play,” which is a metaphor for how the world presents itself. Religion is a non-repetitive, and entirely creative endeavor or “symbol” that is not achieved through work and toil, or through evaluation or power, but rather, through his idea of play and “cult” as the imaginative distanciation from (...) a predictable lifeworld. This paper describes Fink’s understanding of religion and its most relevant aspects found in Spiel als Weltsymbol. The paper is organized into five sections—1: An introduction to his phenomenological approach in general, and description of the role of “play”; 2: investigations into the relation between play and world; 3: a description of his phenomenology of religion; 4: engagements in the idea of cult-play and the sacred sphere, and 5: reflection on his idea of the play of God. (shrink)

'A mere metaphor', 'only symbolic', 'just a myth' - these tell tale phrases reveal how figurative language has been cheapened and devalued in our modern and postmodern culture. In God and the Creative Imagination, Paul Avis argues the contrary: we see that actually, metaphor, symbol and myth, are the key to a real knowledge of God and the sacred. Avis examines what he calls an alternative tradition, stemming from the Romantic poets Blake, Wordsworth and Keats and drawing on the thought (...) of Cleridge and Newman, and experience in both modern philosophy and science. God and the Creative Imagination intriguingly draws on a number of non-theological disciplines, from literature to philosophy of science, to show us that God is appropriately likened to an artist or poet and that the greatest truths are expressed in an imaginative form. Anyone wishing to further their understanding of God, belief and the imagination will find this an inspiring work. (shrink)