A good many models used in physics and economics offer descriptions of imaginary situations, using a combination of mathematics and natural language. The descriptions are both thin - not much about the situation is filled in - and unrealistic - what is filled in is not true of many real situations. Yet we want to use the results of these models to inform our conclusions about a range of actually occurring situations. I propose we interpret many of these models as (...) fables. The actual happenings in the model are only one concrete instantiation of a lesson that is more widely applicable ‘when expressed in more abstract language.' A fable generally comes with the abstract lesson attached; parables, by contrast, usually require an interpretation from outside. Models, then, tend to be more like parables than fables. The right abstract interpretation is not supplied by the model itself. The central problem, then, is where shall it come from? (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

While theories about interpreting biblical and other parables have long realised the importance of readers’ responses to the topic, recent results in social psychology concerning systematic self-deception raise unforeseen problems. In this paper I first set out some of the problems these results pose for the authority of fictional thought-experiments in moral philosophy. I then consider the suggestion that biblical parables face the same problems and as a result cannot work as devices for moral or religious instruction in the way (...) that they are usually understood to work. I examine a number of influential theories about interpretation of the parables which might appear to deflect the problems, and argue that none of them are ultimately successful in doing so. (shrink)

A good many models used in physics and economics offer descriptions of imaginary situations, using a combination of mathematics and natural language. The descriptions are both thin - not much about the situation is filled in - and unrealistic - what is filled in is not true of many real situations. Yet we want to use the results of these models to inform our conclusions about a range of actually occurring situations. I propose we interpret many of these models as (...) fables. The actual happenings in the model are only one concrete instantiation of a lesson that is more widely applicable ‘when expressed in more abstract language.' A fable generally comes with the abstract lesson attached; parables, by contrast, usually require an interpretation from outside. Models, then, tend to be more like parables than fables. The right abstract interpretation is not supplied by the model itself. The central problem, then, is where shall it come from? (shrink)

A recent empirical study on food shortage in South African urban townships indicates thatfood shortage embodies multi-faceted aspects with broader social implications, such as thesense of personal dignity, the ability to openly associate with others and a loss of self-identity.It is argued that the parables of Jesus, when read as symbols of social transformation, providea critique on food insecurity systems in urban townships. It is proposed that the parables ofJesus serve as the conduits for a societal and perhaps ecclesial reorientation (...) with regard to theconditions of hunger, in the light of the vision and values of the kingdom of God. (shrink)

Many ecological and environmental economists take a microeconomic approach to envi­ronmental valuation and view the macroeconomy as an amalgam of firms whose primary task is to efficiently allocate scarce resources. In this framework, replacing freely provided ecosystem services with costly human-provided substitutes is by definition inefficient. Although destroying and replacing the free gifts of nature can sometimes be an economic benefit, in the case of apple-tree pollination in Maoxian County, China, the positive economic benefits do not justify eliminating the natural (...) processes. To the contrary, the Maoxian case illustrates the danger of allowing the logic of the market and its apologetic models to drive conservation policy. The conflict between the market economy and the natural world must be recognized and addressed in a more substantial way. The bees of Maoxian County are a parable for the relationship between humans and the natural world and show clearly the danger of leaving the fate of nature to the whims of the markets even if prices are “corrected.”. (shrink)

The following little parable about what counts as an accurate measure of time illustrates some of the complexities in the relation of language to the world.

Parable and Politics in Early Islamic History: The Rashidun Caliphs. By Tayeb el-Hibri. New York: Columbia University Press, 2011. Pp. xiii + 466. $60.

This dissertation focuses on an exploration of the use of parables in the works of Soren Kierkegaard. While some work has been done on Kierkegaard’s poetic style, very little attention has been paid to his metaphors, despite their prevalent use in his works. Much of the scholarship instead treats his parables as mere examples of philosophical concepts. In this work, I argue that Kierkegaard’s parables function primarily to cause the reader to see him or herself truly. The parables work like (...) mirrors, reflecting our true selves back onto ourself. In this way, the parables prompt Kierkegaard’s readers to overcome the illusion of Christendom and to instead recognize the requirements that authentic Christianity places upon them. My dissertation begins with an examination of the purpose that Kierkegaard saw for his authorship. By focusing on his later works, I argue that Kierkegaard primarily wanted to bring the religious forward in his readers. He thought that in order to accomplish this he needed to start with works describing the life that he thought most of his readers lived, a life of pleasure seeking, and to slowly move them towards the religious. I then present Kierkegaard’s view of what Christianity essentially consists of, subjectivity, and of the style of communication that is tied to subjectivity. Kierkegaard claims that when communicating subjective truths that we must employ an indirect style. I go on to argue that parables very much fit into this style and that they work to cause tension on the part of the reader. The reader of the parable must choose between various competing interpretations that the parable presents, and in choosing how to interpret the parable, the reader reveals and discloses him or herself. I follow this up with an examination of a number of parables from different works of Kierkegaard, showing how they function in this manner. I end by arguing that Kierkegaard’s parables are designed to function like mirrors, revealing ourselves to us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Parables of Narrative ImaginingDavid Herman (bio)Mark Turner. The Literary Mind. Oxford: Oxford UP, 1996.The literary mind? The literary mind? The literary mind? Any which way you parse it, the title of Mark Turner’s provocative, elegantly written study seems to beg important questions, assume things that do not by any means go without saying. First parse: is there in fact a literary (part of the) mind? That is, is there (...) some nondiscrete but semi-autonomous module of cognitive capacities required for using and understanding literary discourse—a module that takes information (as its input) from other modules, operates on that information in some way, then feeds the transformed information (as its output: “literature”) into yet other modules, which in turn take that information as their input? 1 Second parse: assume that there is some module involved in the production and interpretation of literary discourse. Then of what nature, exactly, are the operations performed within that module, and how do they operate on the input in a way that makes the output specifically literary? How precisely is literature born from this process or set of processes? Doesn’t this kind of account suffer from all the disadvantages (inexplicitness, for example) that it inherits from its parent model, the black-box explanation? Third parse: should we even be talking about “minds” at all in connection with literature and the study of literature? Hasn’t “The Intentional Fallacy” and everything that has happened since in the fields of critical and cultural theory—from Marxism and poststructuralism to New Historicism and cultural studies—taught us to center critico-theoretical discourse anywhere but in “the mind”? Hasn’t all this research exposed the mind (of the author, reader, subject, or postsubject, as the case may be) as a construct with more or less noxious political and cultural properties? Are not the discourses of and about the mind so many strategies of interpellation—vehicles by which ideology can work to implant the illusions of inviolable inwardness, unchanging essence, and predetermined identity within a subject that takes such imagined realities to be its real conditions of existence? 2Turner does not directly address any of these questions—at least in the way that I have framed them. That may be grounds for criticism: if you are using a title that can be construed as polemical, then the onus is on you to explain just how the title positions your work in a wider context of argumentation. But at the same time, Turner’s analysis reformulates the underlying problems to which some of my questions point, thus raising [End Page 20] other, equally important issues. Coming to terms with these other issues may change the way we ask questions about things like literature and the mind. Specifically, as part of a larger “cognitive revolution” now unfolding in social-scientific and humanistic disciplines ranging from linguistics to literary and narrative theory, Turner’s book provides ample reasons for not thinking the idea of mind tantamount to an ideology of mind. 3 After all, reducing mind to an ideology of inwardness leaves unexplained any number of basic facts about perception, cognition, and language processing. There is, for example, our ability to use “image schemata” such as motion along a path and bounded interior to make sense of events like milk being poured into a cup, on the one hand, and contained spaces like the ones inside bottles, heads, and houses, on the other hand [Turner 16]. Relying on such schemata, I don’t regularly try to pour wine into a cutting board or to measure, in miles per hour, the speed of an asparagus stalk as it sits on the kitchen counter.There is also—to invoke a slightly different cognitive-scientific vocabulary—our ability to make predictions about emergent situations and sequences of events on the basis of prior, stereotypical situations and sequences stored in the memory as knowledge representations sometimes called frames and scripts [see Schank and Abelson]. For example, the script associated with making a purchase guides me in my interaction with the person at a cash register, such that I can make seemingly effortless predictions about what this person wants me to do... (shrink)

The mind of Kierkegaard has been kept alive in the common memory more by his parables than any other part of his authorship. Like all good parables, they have developed an oral tradition. Do not be surprised if you find here parables that you have heard imperfectly retold or partially revised. Now the reader can track down the original.

Kierkegaard is often praised for his poetic writing style. Throughout his works, especially his pseudonymous ones, he often breaks from philosophical prose and instead uses extended metaphors, fairy tales, parables, and allegories. This book, which is the first that directly addresses Kierkegaard's parables, argues that they help the reader undergo transformative change. It asks why Kierkegaard uses parables in a broad sense, how they function as a form of indirect communication, why Kierkegaard must remain secretive about the purpose of the (...) parables, and how this secrecy plays an important role in Kierkegaard's authorship. (shrink)

The article is on the exegesis of the parable of the Good Samaritan (Lk 10:25–35) and its relevance to the challenges that are being posed by COVID-19. Through the historical-critical approach, the article has concluded that the parable is relevant in troubleshooting the challenges that are caused by COVID-19, such as discrimination, stigma, hate and stereotypes. The article sees COVID-19 as teaching humanity the important lesson that no one can live in isolation, however powerful or economically strong they (...) are. Therefore, there is a need to take the opportunity of being a neighbour. Neighbourhood is understood as offering services to those in need and COVID-19 has presented a chance to the entire world to help someone with needs. A need-based world requires neighbours and this makes the parable relevant. Contribution: This article is a reflection of the challenges that are currently faced by people in response to the COVID-19 pandemic. It is within the scope of this theological journal that issues of identity, relationships, and theological reflection should be addressed, hence the article fits well within this scope. (shrink)

The parables of Jesus are an ethically appropriate genre for his claims about the kingdom of God. But our fascination with gospel parables by Jesus may be extended to gospel parables about Jesus. Especially in parables about Jesus, questions of historical accuracy may lead one to avoid questions about parabolic challenge.

In lieu of an abstract, here is a brief excerpt of the content:A PARABLE OF SCANDAL: SPECULATIONS ABOUT THE WHEAT AND THE TARES IN MATTHEW 13 John F. Cornell St. John's College, NM I will open my mouth in parables; I will utter things kept secret since the foundation of die world" (Matthew 13:35) The title ofone of René Girard's path-breaking books, Things Hidden since the Foundation ofthe World, is of course drawn from this passage. Few scholarly writings compare (...) to this discussion ofmimetic rivalry and collective persecution for conveying a sense of the Bible's depths and secrecy, and for deciphering the wisdom inscribed in its images. Yet it is curious that Girard eschews the parables said to be the repositories of scriptural secrets. Both in Things Hidden (189) and in Quand ces choses commenceront (171-172), he distances himself from the parables as conceding too much to the human desire for a mythical God ofretribution. In light of all we have learned from Girard about our traditional misreadings of the Gospel, we might well question even the strongest impressions left by some of its figures. Might the parables' language of apocalyptic vengeance conceal a different revelation, just as an innocent death on a cross should disclose not the bloodlust ofa deity but the violence ofmen? Matthew's Jesus tells a story about a sowerwhose crop was infested by his enemy's weeds, weeds to be uprooted and destroyed at the harvest. And, granted, when Jesus translates the parable for the disciples he describes divine violence at the end ofhistory. The enemy is the devil and the sower is the Son ofMan who sends out his angels to discern the unrighteous ofhumanity and cast them into the furnace. But something does not seem quite right. Isn't Jesus' reduction of his own parable a little too obvious? And is there not John F. Cornell99 something grotesque—or at least simple-minded—about the teacher who warned about dirowing pearls ofwisdom now turning around and broadcasting the solution to one of the great mysteries? If we look closely at the very parable that surrounds the suggestion of "things hidden since the foundation ofthe world," we may see, however, that something is indeed hidden, hidden in the text. And what is hidden there confirms Girard's insight about the dominion ofmimetic rivalry since the world began. The Wheat and Tares is more than amyth ofdivine punishment. It is a parable ofthe essential human malady, a parable ofscandal. Here is the main text of the parable of the Wheat and the Tares, from Matthew chapter 13, in the New King James Version.1 "The kingdom ofheaven is like a man who sowed good seed in his field (agroi) but while men slept, his enemy came and sowed tares among the wheat and went his way. But when the grainhad sprouted and produced a crop, then the tares also appeared. So the servants of the [master of the house] (oikodespotou) came and said to him, 'Sir, did you not sow good seed inyourfield? How then does it have tares?' He said to diem, 'An enemy, [a man,] has done this.' The servants said to him, 'Do you want us then to go and gather them up?' But he said, 1No, lest while you gather up the tares you also uproot the wheat with them. Let both grow together until the harvest, and at the time ofharvest I will say to the reapers, "First gather together the tares and bind them in bundles to bum them, but gather the wheat into my bam.'"" (Matthew 13: 24-30) Andhere is the explanation ofdie Wheat and die Tares that follows soon after: All these things Jesus spoke to the multitude in parables; and without a parable He did not speak to them, that it might be fulfilled which was spoken by the prophet saying: "1 will open my mouth in parables; I will utter things kept secret [since] the foundation ofthe world." 1 Minor corrections, necessary to reflect the Greek, are indicated by brackets. The source for the Greek text is the Nestle-Almond Novum Testamentum Graece. 100A Parable ofScandal Then Jesus sent the multitude away and went into the house (oikiari). And His... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:One Parable, Two Interpretations:Pope Francis and William Langland on the Good Samaritan*Sheryl OvermyerInterpretations of the parable of the Good Samaritan (Luke 10:25–37) focus on its theology, ethics, ecclesiology, and even moral psychology. The parable has much to say regarding holiness. It treats how to become holy and distinct acts of holiness, the exemplar of holiness, and the reality and effects of sin. In the history of (...) interpretation, the parable is taken to offer a model of the relationship between the fallen man and grace, the devil and the garment of virtue, the law and love, Christ and the Church. In short, the parable allegorizes salvation history.1I focus conversation about this parable through two interpretations-Pope Francis's Fratelli Tutti [FT], promulgated October 3, 2020, and William Langland's Piers Plowman [PP] circulating circa 1380. Some might hold that Francis's interpretation of the parable is ethical while Langland's is theological.2 Both interpretations of the parable are works of moral theology that intimate distinct understandings of what it means to embody [End Page 541] the Gospel and answer the universal call to holiness. In this essay, I outline the parable of the Good Samaritan as treated in Fratelli Tutti and Piers Plowman (first section), compare the major figures of the parable (second section), and compare their visions of charity (third section). In sum, I argue the encyclical sidelines crucial elements in the medieval figuration of the parable. Pope Francis elides critical issues of sin, agency, Christology, and the Church traditionally associated with this parable—all center on the Samaritan as Christ.Two Interpretations in OutlineFratelli Tutti's Parable of the Good SamaritanPope Francis's third encyclical, Fratelli Tutti, is unique in its genre. The encyclical includes all brothers and sisters in its scope of fraternity and social friendship and is addressed to all (§1). The inspiration for the encyclical includes St. Francis's visit to the Sultan some eight hundred years ago and the 2019 Document on Human Fraternity for World Peace and Living Together, a statement signed by Pope Francis and Sheikh Ahmed el-Tayeb, Grand Imam of Al-Azhar. Indeed, the joint document plays a critical role in the encyclical, sharing a common framework of a doctrine of creation and doctrine of God (FT §5). Because Pope Francis includes all of humanity in the audience of this encyclical and its sources of inspiration are broadly humanitarian, it is fair to raise a question about distinctively Catholic elements to the encyclical.The encyclical chapter devoted to the parable of the Good Samaritan (chapter 2 [§§56–86], treating Luke 10:25–37) intensifies these theological questions. Just as the encyclical is "addressed to all people of good will, regardless of religious convictions," likewise the parable is of universal relevance as it "is one that any of us can relate to and find challenging" (§56). Francis's interpretation of the parable encapsulates Fratelli Tutti's themes.The subject of the parable is, according to Pope Francis, the age-old problem of neighborly love (§57).3 The parable involves several figures: the wounded man lying on the wayside, the robbers, the passers-by, and the Samaritan.4 The wounded are the subject of the encyclical's first chapter. Francis characterizes the wounded as those members of weaker and poorer regions whom the global economy exploits; the poor, disabled, and elderly [End Page 542] who seem no longer useful; children, women, and men of all ages who live under contemporary forms of slavery such as trafficking; and victims of economically driven violence including war, terrorist attacks, and racial and religious persecution (§§§ 12, 18, 24–25). Francis admits that we feel like the wounded, "helpless because our institutions are neglected and lack resources, or simply serve the interests of a few" (§76). However, the primary identification of the wounded focuses on those pushed to the margins by profit-driven economic, technologically progressive, politically divisive, dehumanizing global forces (§76 briefly suggests our identification with the injured man).The parable of the Good Samaritan brings these vast forces to bear our everyday relationships—we all experience an interior struggle when we encounter anyone who suffers (§69... (shrink)

We explore the relationship between argument and narrative with reference to parables. Parables are typically thought to convey a message. In examining a parable, we can ask what that message is, whether the story told provides reasons for the message, and whether those reasons are good reasons. In exploring these questions, we employ as an inves-tigative technique the strategy of reconstructing parables as argu-ments. We then proceed to con-sider the cogency of those argu-ments. One can offer arguments through narratives (...) and, in particu-lar, through parables, but that do-ing so likely brings more risks than benefits, from an epistemic point of view. (shrink)

Interpreting the stories told within the “succession narrative” depends on a correct recognition of their genre.

Many readings of the Parable of the Labourers in the vineyard want to treat the owner as representing God. Knowledge of actual agricultural practices relating to the management of vineyards suggest, on the contrary, that the details of the parable obstruct an easy identification of the owner with God, and that he displays unusual behaviour not only by paying all the labourers the same wage, but by his very intervention in the hiring process. The conclusion reached is that (...) the parable constructs the vineyard owner, typically one of the nouveau riche who lived in cities, not only as a ‘good employer’ but also, contrary to expectation, as a patron who intervened well beyond the strict norms of economic exchange. (shrink)

Approaches the direct experience of gaming by asking: what does it mean for the player to enter the machinic "world" of the game? What forms of subjectivity does the game offer to the player? What happens to consciousness itself when one plays?

Parables are not frequently found in critical thinking textbooks. And, yet, because parables are relatively simple, engaging stories, they can present various principles of good reasoning and attitudes of a critical thinker in a way that is fun and accessible to the students in our classrooms. Using two well-known parables, W. K. Clifford’s Ship Owner and John Wisdom’s Invisible Gardener, I outline how parables like these can be used in the teaching of critical thinking, and what the benefits of doing (...) so are. I also argue that the religious context in which the parables were set is not a detriment to their pedagogical value but, rather, can be an added benefit. (shrink)

Parables are not frequently found in critical thinking textbooks. And, yet, because parables are relatively simple, engaging stories, they can present various principles of good reasoning and attitudes of a critical thinker in a way that is fun and accessible to the students in our classrooms. Using two well-known parables, W. K. Clifford’s Ship Owner and John Wisdom’s Invisible Gardener (as retold by Antony Flew), I outline how parables like these can be used in the teaching of critical thinking, and (...) what the benefits of doing so are. I also argue that the religious context in which the parables were set is not a detriment to their pedagogical value but, rather, can be an added benefit. (shrink)

These parables balance three seemingly incompatible domains: creative collaboration within the limits of nature; catastrophic disaster tinged with the barest hint of human responsibility; and courageous, transforming coercion, the success of which renders an entire process vulnerable.

Nigeria is an example of developing countries characterised by mass poverty in the midst of plenty. Coincidentally, the Nigerian church is stupendously rich. Pastor Emmanuel, a former National Coordinator of the Redeemed Christian Church of God, Germany, notes that the annual revenue of the Nigeria church in 2014 is over ₦3 trillion while surprisingly, the national budget is ₦4.69tn for the year. Gigantic buildings, exotic cars and private jets are the hallmarks of the church’s wealth. Some pastors acquire jets ranging (...) from ₦2.3 to ₦6.4 billion with additional ₦8.4bn for maintenance and salaries annually. Surrounded by this ‘affluence’ are thousands of poor, unemployed and barely surviving church members. This calls for the need to examine what Lukan Jesus would have wanted the church to do with her wealth. This article examines Lukan parables on the rich and the poor using narratological method. Thus, the parables’ context, the characterisation and the plot is analysed, including lexical-syntactical relationships. Finally, the lessons derived is used via socio-scientific reading of the Nigerian situation to arrive at a theology of social action for the poor. Most parables are open-ended, a literary device that ensures the readers take a decision, therefore the message focuses on the church rather than individual Christians. Contribution: The article recommends that church-owned institutions should make education accessible to the poor, rise against socio-economic policies that will impoverish people while seeking economic independence of the poor. Finally, the church should also integrate the differently-abled into the church. (shrink)

Characters like Joe Schvindler, Gabby the Housepainter, and Duvy the klutzy delivery boy each illustrate a teaching of Pirkei Avos, in terms that youngsters can understand and relate to.