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

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This chapter contains sections titled: Notes.

Argues that positive changes in perspective and deeper spiritual connections to things greater than oneself can influence the world for the better.

Zed Shaw has perfected the world's best system for learning Python. Following it, students will succeed-just like the hundreds of thousands of beginners Zed has taught to date! InLearn Python 3 the Hard Way, students will learn Python while working through 52 brilliantly crafted exercises. Read them. Type their code precisely. (No copying and pasting!) Fix mistakes. Watch the programs run. As they do, they'll learn how software works; what good programs look like; how to read, write, and think about (...) code; and how to find and fix your mistakes using tricks professional programmers use. -- Provided by publisher. (shrink)

The day is one of the fundamental experiences of our natural existence. The obvious cycle of the sun, the alternation of sleep and being awake provide a link between the life of the body and the great regularity that assigns their successive moments to light and to darkness. Only a simplified abstraction allows us to consider time lived as an homogeneous flow. Our existence, in its proper substance and in its larger environment, is dominated by the rhythm of days and (...) nights. Our very experience of the reality of objects is subject to it: the universe of things depends on the light of day that reveals it. It shrivels and becomes uncertain when night falls, with terror and dreams taking its place. The evidence that appears with the clarity of day is not of the same order as apparitions that arise from the depth of darkness. (shrink)

A guide to personal discipline and social ethics from a classical Sanskrit scholar, designed for the modern yoga practitioner. Students of yoga are introduced to the ancient teachings of classical Indian literature in abundant workshops and teacher trainings. But amidst this abundance there is a hunger for more insight into how practitioners can integrate this wisdom into their modern lives. In today's complex world, how is it possible to truly live as a yogi? Drawing from his deep insight into ancient (...) Sanskrit texts, Dr. Shankaranarayana Jois connects yogic philosophy to how we approach food, work, education, relationships, and much more to support our deepest longings for true peace and happiness. The Yoga Journey focuses on the yamas and the niyamas, the personal disciplines (or restraints) and social ethics that represent the first two limbs of Ashtanga Yoga. Rather than offering a set of esoteric practices and disciplines, Dr. Jois offers clear and practical guidance to help us both understand and experience for ourselves why yogic practices are meaningful. Dr. Jois's central message underscores the benefits we can gain from adopting a yogic way of life in the modern world. His unique teachings show us the ultimate goal of yoga, and he clearly directs us toward the tools available to us for reaching that goal. Rather than suggesting that we blindly follow some prescription from the past, Jois challenges us to use our analytical mind to assess their usefulness and benefit in our daily lives. His teachings honor ancient traditions, going beyond the information and teachings being offered (and recycled) by many Western teachers. (shrink)

Comedy is sacred—it's woven through the Bible. James Cary has rare first-hand experience of writing comedy for the BBC—and has a degree in theology. He and former actor and comedian, Barry Cooper (co-writer of Christianity Explored) do a weekly podcast called Cooper and Cary Have Words. This is an intelligent, funny, informative book for anyone who likes comedy.

When people talk about religion, most soon mention the major religious traditions of our times, but then, thinking further, most mention as well the religions of Indigenous peoples and of such vanished civilizations as ancient Greece and Egypt and Persia. That is, we have come to understand that there are-and have been-many different religions; anthropologists estimate the total in the thousands. They also estimate that there have been thousands of human cultures, which is to say that the making of a (...) culture and the making of its religion go together: each religion is embedded in its cultural history. True, certain religions have attempted, and variously succeeded, in crossing cultural boundaries to "convert the heathens," but the invaded cultures usually put their unmistakable stamp on what they import, as evinced by the pulsating percussive Catholic masses sung in Africa. In the end, each of these religions addresses two fundamental human concerns: How Things Are and Which Things Matter. How Things Are is articulated as a Cosmology or Cosmos: How the natural world came to be, how humans came to be, what happens after we die, the origins of evil and tragedy and natural disaster and love. Which Things Matter becomes codified as a Morality or Ethos: the Judaic Ten Commandments, the Christian Sermon on the Mount, the Five Pillars of Islam, the Buddhist Vinaya, the Confucian Five Relations, and the understandings inherent in numerous Indigenous traditions. The role of a religion is to integrate the Cosmology and the Morality, to render the cosmological narrative so rich and compelling that it elicits our allegiance and our commitment to its attendant moral understandings. As a culture evolves, a distinctive Cosmos and Ethos appears in its co-evolving religion. For billions of us, back to the early humans, the stories, ceremonies and art associated with our religions-of-origin have been central to our lives. I stand in awe of these religions. I have no need to take on their contradictions or immiscibility, any more than I would quarrel with the fact that Scottish bagpipe ceremonies coexist with Japanese tea ceremonies. And indeed, the failure of Soviet Marxism to obliterate Russian Orthodoxy, and of Maoism to obliterate Buddhism, Confucianism, or Daoism, and of Christianity to obliterate Indigenous understandings, reminds us that projects designed to overthrow religious traditions face strong headwinds. (shrink)

An anthology of essays that discuss the ethics of money (including issues of wealth, income, expenditures, charity, debt, etc.) from a variety of Jewish perspectives.

For many of us, the great scientific discoveries of the modern age--the Big Bang, evolution, quantum physics, relativity--point to an existence that is bleak, devoid of meaning, pointless. But in The Sacred Depths of Nature, eminent biologist Ursula Goodenough shows us that the scientific world view need not be a source of despair. Indeed, it can be a wellspring of solace and hope. This eloquent volume reconciles the modern scientific understanding of reality with our timeless spiritual yearnings for reverence (...) and continuity. Looking at topics such as evolution, emotions, sexuality, and death, Goodenough writes with rich, uncluttered detail about the workings of nature in general and of living creatures in particular. Her luminous clarity makes it possible for even non-scientists to appreciate that the origins of life and the universe are no less meaningful because of our increasingly scientific understanding of them. At the end of each chapter, Goodenough's spiritual reflections respond to the complexity of nature with vibrant emotional intensity and a sense of reverent wonder. A beautifully written celebration of molecular biology with meditations on the spiritual and religious meaning that can be found at the heart of science, this volume makes an important contribution to the ongoing dialog between science and religion. This book will engage anyone who was ever mesmerized--or terrified--by the mysteries of existence. (shrink)

A collection of essays focusing on the relationship between concepts of the holy and the unholy in western European medieval culture. Demonstrates how religion, magic, and science were all modes of engagement with a natural world that was understood to be divinely created and infused with mysterious power"--Provided by publisher.

For many of us, the great scientific discoveries of the modern age--the Big Bang, evolution, quantum physics, relativity-- point to an existence that is bleak, devoid of meaning, pointless. But in The Sacred Depths of Nature, eminent biologist Ursula Goodenough shows us that the scientific world view need not be a source of despair. Indeed, it can be a wellspring of solace and hope. This eloquent volume reconciles the modern scientific understanding of reality with our timeless spiritual yearnings for (...) reverence and continuity. Looking at topics such as evolution, emotions, sexuality, and death, Goodenough writes with rich, uncluttered detail about the workings of nature in general and of living creatures in particular. Her luminous clarity makes it possible for even non-scientists to appreciate that the origins of life and the universe are no less meaningful because of our increasingly scientific understanding of them. At the end of each chapter, Goodenough's spiritual reflections respond to the complexity of nature with vibrant emotional intensity and a sense of reverent wonder. A beautifully written celebration of molecular biology with meditations on the spiritual and religious meaning that can be found at the heart of science, this volume makes an important contribution to the ongoing dialog between science and religion. This book will engage anyone who was ever mesmerized--or terrified--by the mysteries of existence. (shrink)

This collection of essays, presented in honor of Ronna Burger, addresses questions and themes that have animated her thinking, teaching, and writing over the years. With a view to the scope of her writings, these essays range broadly: from the Bible and Ancient Greek authors--including not only Plato and Aristotle, but also Sophocles, Euripides, Aristophanes, and Xenophon--to medieval thinkers, Maimonides, Dante, and Boccaccio, as well as modern philosophers, from Descartes and Montesquieu to Kant, Lessing, Hegel, and Kierkegaard. Moving in order (...) from antiquity to modernity, the essays highlight certain recurring philosophical issues, including the relations between nature and convention, law and justice, human and divine, in light of the indispensable need for questioning and self-knowledge. Taken collectively, the essays disclose intriguing connections among the various authors and texts and display how the themes of nature, law, and the sacred continue to resonate across time. (shrink)

Prominent defenders of the Enlightenment, like Jürgen Habermas, are beginning to recognize that the characterization of human beings in entirely rational and secular terms leaves out something important. Religion, they admit, plays an important role in human existence. But the return to a traditional monotheistic religion seems sociologically difficult after the death of God. We argue that Homeric polytheism retains a phenomenologically rich account of the sacred, and a similarly rich understanding of human existence in its midst. By opening (...) ourselves up to the moods of wonder and gratitude at the root of Homer's sense of the sacred, we can re-appropriate a polytheistic understanding of the sacred that allows us to recover and revive the intensity and meaningfulness that Homer's polytheists enjoyed. (shrink)

Many employees with strong religious convictions find themselves living in two separate worlds: the sacred private world of family and church where they can express their faith freely and the secular public world where religious expression is strongly discouraged. We examine the origins of sacred/secular divide, and show how this division is an outcome of modernism replacing Christianity as the dominant worldview in western society. Next, we make the case that guiding assumptions (or faith) is inherent in every (...) worldview, system of thought, or religion and also show that scientific reason can never be a comprehensive or totalizing meaning system, particularly in the realm of ethics. The underlying assumptions of the sacred/secular divide are seriously questioned which has implications for employees who desire to integrate faith and career. Finally, we offer possibilities for individuals and corporate entities to integrate the personal and sacred with the institutional and secular. (shrink)

This paper tries to examine what is at stake in the various projects to ?re-enchant the world?, which have arisen in the face of modernity. It sees the ambition to ?save the sacred? in this context. It poses a number of problems which arise for such projects, and in particular examines the notion of ?polytheism? which is central to the recent book of Sean Kelly and Hubert Dreyfus, All Things Shining.

This special 10th anniversary edition of the David Suzuki classic, re-examines our place in the natural world in light of sweeping environmental changes and recent advances in scientific knowledge.

Contemporary conversations about religion and culture are framed by two reductive definitions of secularity. In one, multiple faiths and nonfaiths coexist free from a dominant belief in God. In the other, we deny the sacred altogether and exclude religion from rational thought and behavior. But is there a third way for those who wish to rediscover the sacred in a skeptical society? What kind of faith, if any, can be proclaimed after the ravages of the Holocaust and the (...) many religion-based terrors since? Richard Kearney explores these questions with a host of philosophers known for their inclusive, forward-thinking work on the intersection of secularism, politics, and religion. An interreligious dialogue that refuses to paper over religious difference, these conversations locate the sacred within secular society and affirm a positive role for religion in human reflection and action. Drawing on his own philosophical formulations, literary analysis, and personal interreligious experiences, Kearney develops through these engagements a basic gesture of hospitality for approaching the question of God. His work facilitates a fresh encounter with our best-known voices in continental philosophy and their views on issues of importance to all spiritually minded individuals and skeptics: how to reconcile God's goodness with human evil, how to believe in both God and natural science, how to talk about God without indulging in fundamentalist rhetoric, and how to balance God's sovereignty with God's love. (shrink)

Szasz argues that the word schizophrenia does not stand for a genuine disease, that psychiatry has invented the concept as a sacred symbol to justify the practice of locking up people against their will and treating them with a variety of unwanted, unsolicited, and damaging interventions.

"Reason and the Sacred" alludes to the relation between Philosophy and Sacred Doctrine, or between reason and faith, considering both as necessary and indispensable faculties of the human psyche, one not negating the other vis-a-vis the immanent reaches of the psyche as to its purpose, but one enhancing the other in the perfection of each's domain. Faith is thus not antithetical to reason except if one is employed on the domain of the other so as to attain certainty (...) and experience truth. The latter part of this compilation, namely Book III, includes "Ancient Ethiopia: Gold beneath Wax," an essay on the history of conceivably the oldest civilization, following a meditative writing on faith, contemplation and mystic spirituality, and a religio-anthropological and historical essay about the ancient Church of Abyssinia.". (shrink)

Abstract for The Sacred Depths of Nature (2009) UMI: 3358701.

"Disenchantment" is a key term in the self-understanding of modernity. But what exactly do we mean when we use this concept? What was its original meaning when Max Weber introduced it? And can the conventional meaning or Max Weber's view really be defended, given the present state of knowledge about the history of religion? This book is an attempt to divest this concept of its enduring enchantment. The first chapters of the book deal with the three empirical disciplines history, psychology (...) and sociology of religion to develop an understanding of religion that then lays the groundwork for what is presented in chapter 4, namely the most thorough study of Weber's views on disenchantment that has ever been undertaken. It turns out that Weber's use was highly ambiguous and that his grand narrative leading from the prophets of ancient Judaism to the crisis of meaning on the eve of the First World War collapses when we recognize this ambiguity. This makes it possible to construct an alternative that takes into account the dynamics of ever new sacralizations, their normative evaluation in the light of the values of a universalist morality and the dangers of the misuse of religion in connection with the formation of power. This book constitutes a challenge - for believers and non-believers alike. (shrink)

After an introduction and views on inculturation, the focus shifts to ‘incarnation’ and ‘contextualisation’ in a broader sense, to also include the transformation and adaptation of the ‘sacred’ for the secular or political sphere. Practices of performing faith through texts and music within diverse liturgical, spiritual, cultural and political contexts in South Africa are discussed. Aspects taken into account are the possible influence of landscape or seasons on the expression of faith and the possible sacro-soundscapes that could come from (...) different contexts, such as the impact of the Karoo landscape on Khoisan descendants singing the sacred; performances in a contextualised music idiom, such as the Genevan Psalms in a Khoi music idiom; and celebrating the Church Year in different hemispheres. The discussion focuses also on contextualising within political contexts – that is, where political space is ‘sacralised’ through sacred songs and where sacred songs are given political meaning or changed for the political sphere. The article closes with the possibility of songs from Africa being sung in other countries and the meaning it could have, or could be given. It is argued that contextualisation from one context to another context of the sacred, or from a ‘secular’ to a sacred context, as well contextualising the sacred into the public or political sphere, could lead to contexts and spaces being changed, enrich the performance of the sacred, stimulate creativity, allow for new processes of attributing meaning, change values and motivate people, form new identities and thus also could lead to changed communities. (shrink)

It may be argued that since animals too have a mind, perhaps they may know the origin of things, if man cannot. But, says the Mimansa, so far as man is concerned, the highest mind according to him is the mind of man; and if that cannot?...

This book presents an approach to spirituality based on direct personal experience of the sacred. Using the language and insights of depth psychology, Corbett outlines the intimate relationship between spiritual experience and the psychology of the individual, unveiling the seamless continuity between the personal and transpersonal dimensions of the psyche. His discussion runs the gamut of spiritual concerns, from the problem of evil to the riddle of pain and suffering. Drawing upon his psychotherapeutic practice as well as on the (...) experiences of characters from our religious heritage, Corbett explores the various portals through which the sacred presents itself to us: dreams, visions, nature, the body, relationships, psychopathology, and creative work. Referring extensively to Jung's writings on religion, but also to contemporary psychoanalytic theory, Corbett gives form to the new spirituality that is emerging alongside the world's great religious traditions. For those seeking alternative forms of spirituality beyond the Judeo-Christian tradition, this volume will be a useful guide on the journey. (shrink)

Three points are discussed: first, that limits of technological fixes are revealed by current economic, social, and environmental problems; second, that these problems cannot be solved by a technological fix but require alternative forms of activity and being; third, that realizing these limits makes possible the re‐emergence of the sacred. Two attitudes toward technology, nature, and the sacred are described: Technocrats desacralize nature and strive to shape it technologically for human ends alone; pernetarians resacralize nature and develop a (...) perennial philosophy (synthesized from elements of different spiritual disciplines) allied with an enlarged, artful science, so as to design activities compatible with nature. (shrink)

The Heythrop Journal, Volume 63, Issue 4, Page 652-665, July 2022.

The Sacred Self:. Cultural Phenomenology of Charismatic Healing. Thomas J. Csordas. Berkeley: University of California Press, 1994. 327 pp. $35.00 (cloth).

The aim of this paper is to highlight the "sacred" and "secular" character of the Xesyrtos or Gikna dance in the community of Asvestades in Thrace in Greece. In particular, this paper intends to highlight the difference between the "sacred" and the "secular" and the way this dichotomy is reflected in the dance under study. Data was gathered through the ethnographic method. The sacred/secular dichotomy, as proposed in Leach's (1976) theoretical model, is used to analyze the data. (...) Further, Laban's notation system (Hutchinson, 2005; Koutsouba, 2005), was used to record the choreographic compositions of Xesyrtos or Gikna dance, while for the analysis of their structure and form, as well as their codification, the structural-morphological and typological method of analysis was applied. Finally, for the presentation and interpretation of the data, Geertz’s model of "thick description" (2003) was adopted. From the data analysis it was found that the Xesyrtos and Gikna dances are danced in exactly the same way, but are clearly separated and demarcated based on the intentions of the community residents related to the performed function of the dance event. (shrink)

At least since Anaximander’s apeiron, there have been philosophical questions about what, if anything, preceded the gods. But, as far as I know, the precise question that I address in this essay was first explicitly asked by Ronald W. Hepburn, in his essay ‘Restoring the Sacred: Sacred as a Concept of Aesthetics’. In his essay, Hepburn is interested in the actual and potential relationships between religious and aesthetic uses of the concept of the sacred. Which leads him (...) to the question: Does the concept have a valid meaning – an aesthetic meaning, say – that is logically independent of (and therefore might have preceded) the religious one, which seems most strongly associated with the metaphysical belief that God or the gods exist? In other words, is the sacred older than the gods? While he does not provide a definitive answer, Hepburn adumbrates his view on whether this claim is correct. In this essay, I set out my own answer within the guidelines that Hepburn’s sketch has laid out. (shrink)

The acclaimed American sociologist and cultural philosopher Philip Rieff gained great academic prestige with his thesis on the emergence of 'Psychological Man' in western culture and with his classic book, Freud: The Mind of the Moralist, published in 1959. In this work and the later The Triumph of the Therapeutic (1966) he not only offered a highly original interpretation of the work of Sigmund Freud, but critically evaluated the enormous influence of psychotherapeutic thinking on Western culture. However, Rieff's later work (...) on the theory of culture did not garner the same attention, and his most recent writings have received very little critical engagement. In Sociology and the Sacred, Antonius A.W. Zondervan sets out to remedy this neglect, arguing that Rieff's work is ripe for intellectual reconsideration. (shrink)

This book explores the topography of Mount Athos, emphasizing the significance of silence and communal ritual in its understanding. Mount Athos, a mountainous peninsula in northern Greece, is a valuable case study of sacred topography, as it is one of the world’s largest monastic communities and an important pilgrimage destination. Its phenomenological examination highlights the importance of embodiment in the experience of religious places. Combining interdisciplinary insights from architectural theory, philosophy, theology and anthropology with archival and ethnographic materials, the (...) book brings a fresh contribution to both Athonite studies and scholarship on sacred space. By focusing on the interrelation between silence and communal ritual, it offers an alternative to the traditional art historical, objectifying approaches. It reintroduces the phenomenological understanding of place, investigating also how this is expressed through a number of narratives, such as travel literature, maps and diaries. (shrink)

The sacred has survived where religion has not. The sacred is acknowledged by prominent atheists and agnostics. They emphatically agree that the person is sacred and less clearly that nature is as well. Closer examination of their remarks shows that today the sacred comes in two versions, the rightful sacred, best known under the heading of human rights, and the graceful sacred of concrete reality?things and practices of nature and art particularly. The division of (...) the sacred into its rightful and graceful versions (a division that is mirrored in the distinction philosophers make between the right and the good) is the crucial cultural event of the modern era. The two are distinct at least and sometimes thought to be incompatible. Yet they can and must be reconciled and seen as complementary?a general requirement of human well-being. And for a Christian like me they find their perfect union in the truly sacred person?God. (shrink)

This paper argues that an exchange between Paolo Prodi and Giorgio Agamben on the role of the sacred in European constitutional history can inform the study of early modern history of political thought. Prodi, in his history of the sworn oath (sacramentum), and Agamben, in his history of the curse (sacer esto) and the accursed, or outlaw (homo sacer), explored how these sacred threats and promises, though not purely legal expressions themselves, underpinned the legal order. Through a study (...) of three sixteenth-century legal humanists’ views of the Roman laws concerning these sacred oaths and curses (the sacratae leges), this paper describes a similar interest in exploring the connection between the sacred and the legal order. It concludes that the idea of the commonwealth in the sixteenth century was a complex of legal and para-legal techniques, symbols, and structures in addition to the more frequently studied restoration of classical virtue theory. This paper also provides an edition and translation of Guillaume Budé's discussion of the Roman law of banishment [D. 48.19.2], which was the first legal commentary to assemble the materials relating to the homo sacer. (shrink)

As bearers of the divine image, all of us are storytellers and artists. However, few people today believe in truth that is not empirically knowable or verifiable, the sort of truth often trafficked through direct forms of communication. Drawing on the works of Soren Kierkegaard, Benson P. Fraser challenges this penchant for direct forms of knowledge by introducing the indirect approach, which he argues conveys more than mere knowledge, but the capability to live out what one takes to be true. (...) Dr. Fraser suggests that stories aimed at the heart are powerful instruments for personal and social change because they are not focused directly on the individual listener; rather, they give the individual room or distance to reconsider old meanings or ways of understanding. Indirect communication fosters human transformation by awaking an individual to attend to images or words that carry deep symbolic force and that modify or replace one's present ways of knowing, and ultimately make one capable of embodying what he or she believes. Through an examination of the indirect approach in Kierkegaard, Jesus, C. S. Lewis, and Flannery O'Connor, Fraser makes a strong case for the recovery of indirect strategies for communicating truth in our time"--Back cover. (shrink)

In The Sacred Monstrous author Wendy Hamblet traces the historical and social fact of violence through the work of Girard, Bloch, Lorenz and Burket. She takes up the charge advanced by social theorists, anthropologists and others that violence is steeped in our being; it pervades our generations and is imbedded in the ethos of our modern institutions. Hamblet's discussion of human history re-frames our understanding of how violence works in history and society. The Sacred Monstrous is a salient (...) work of continentally informed philosophy that contributes significantly to any discussion of violence and conflict in the social sciences. (shrink)