This book analyses the influences of ideas of honor on the causes, conduct, and endings of wars from Ancient Greece through to the present-day war in Iraq. It does this through a series of historical case studies. In the process, it highlights both the differences and the similarities between the various eras under study, and draws conclusions about the relevance of honor to war in the modern era. Each chapter looks at a particular period in history and is divided into (...) nine sections: Honor and virtue in the relevant period; Honor and the causes of war; Honor as a motivation for fighting; Honors and rewards; Death and honor; Honor and the conduct of war; Honor and the enemy; Honor and the ending of wars; Women and honor. The book makes use of original archival research and interviews with serving military officers, as well as secondary source material. Its subject will be of interest not merely to students of military history, military ethics, security studies and international relations, and anthropology/sociology/philosophy/history of ideas. (shrink)

Text and context: two ways to Clausewitz -- A learned officer among others -- Frederick the Great and his interpreters Clausewitz and Schlieffen -- Phases in the history of strategy -- From ideal to ambiguity: Johannes von Miller, Clausewitz -- And the people in arms -- "Half against my will I have become a professor" -- Two historians on defeat and its causes.

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that (...) art and science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

A convincing argument as to why the West's military superiority scarcely matters, looking at the lack of decisive use of force in critical situations.

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science (...) as they do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

This book traces the evolution of Hindu theories of warfare in India from the dawn of civilization.

Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a (...) Bosch drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.Essays Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750. (shrink)

The author has collaborated in research teams to visualize supercomputer simulations and real-time data. She describes these collaborative projects that employ advanced-technology graphics and novel digital displays that include large-format IMAX film, high-definition television productions, and a museum digital dome at the American Museum of Natural History. The popularity of these images and the function that they provide in popular culture are discussed. She also describes two key technologies that she was part of designing: IntelliBadge(tm), a real-time visualization and ‘smart’ (...) tracking system; and Virtual Director(tm), a virtual camera choreography and remote collaboration system. The process of data-visualization involves the mapping of data from numerical form into an iconic representational form in the attempt to provide humans with insight and understanding of a phenomenon. This is discussed in the context of metaphor, cognition, and postcolonial theory. Because data-visualizations carry the ‘weight of scientific accuracy and advanced technology’, most general audiences confuse these visualizations as ‘real’; however, it is argued that data-visualizations are models and metaphors, not reality. In metaphor theory, the mapping of attributes from one domain of information into another is how humans understand, create, and engender new meaning. Data mapping is correlated with this theory. The author explores how the use of mapping information is culturally contingent. In the spirit of scientific inquiry, she deconstructs the very professional activity for which she is most famous. (shrink)

Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. True to the particularity of things, each of the essays singles out one object for close attention: a (...) Bosch drawing, the freestanding column, a Prussian island, soap bubbles, early photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each is revealed to be a node around which meanings accrete thickly. But not just any meanings: what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are saturated with cultural significance. Things become talkative when they fuse matter and meaning; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At these junctures, certain things become objects of fascination, association, and endless consideration; they begin to talk. Things that talk fleetingly realize the dream of a perfect language, in which words and world merge.Essays Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750. (shrink)

At War with War visualizes humanity's 5,000-year-long state of conflict, chaos, and violence on a continuous timeline. Seventy pages of stark black-and-white pen-and-ink drawings and woodcuts illustrate history's most notorious battles -- from 3300 BCE to the present day. Interspersed are contemplations on war from historic thinkers, including excerpts from "The Art of War" by Sun Tsu, "The Complaint of Peace" by Desiderius Erasmus, and "The State" by Randolph Bourne. Searing and sardonic, balancing anger and despair with wit and humanity, (...) these raw illustrations follow in the tradition of great social satirists such as Honoré Daumier, Frans Masereel, Felix Vallotton, and Otto Dix. Seymour Chwast is a design legend. As co-founder with Milton Glaser of Push Pin Studios, he led a revolution in graphic design in the 1960s and '70s, producing bold, vibrant work that pushed the limits of nearly every visual medium.Now, he turns his pen and sketchpad toward creating a new book on a subject that has been a personal obsession for nearly six decades: the fight against war, humankind's never-ending scourge. (shrink)

Volume 1: The ancient to premodern world, 3000 BCE-1815 CE -- Volume 2: The modern world, 1815-present.

For the English speaking reader of today, Ranke is surprisingly inaccessible; indeed, he has become something of a patron saint, more praised than read. Now all his major works have been translated, while almost none of his letters, notes, or essays, so important in getting an informal appraisal of his craft of history, is in English. Many of his of books, whether in German or in English, are no longer in print, and the modern reader is less likely to bear (...) up with the four or six volume works which are. Thus the purpose of this anthology is to bring attention to some of the riches which a reader might find in a more extended study of Ranke's histories. Its emphasis is on Ranke as an historian, with translations of essays and addresses which lay down his program for research, politics, and the relationship between and historian's values and his work. It also attempts to give some sense of Ranke's literary skill, by including examples of his historical portraiture from his History of the Popes, History of France, and History of the Reformation. Finally, a selection of letters and brief reflections culled from his works and notes tries to recapture the man, whose own inner development joined with the tendencies of his age to make him a world-historical figure in Ranke's own sense of the word. (shrink)

Knowledge about colour it properties, methods of fabrication, meanings, and uses has always been the purview of a wide range of individuals, from painters and architects to dyers, printers, pigment manufacturers, chemists. This volume discusses how different communities interacted with respect to knowledge and practices surrounding colour, thus contributing to a better understanding of an important current in cultural history.".

Contents Acknowledgements vii Illustrations ix Preface xi Further Bibliography of A.C. Crombie xiii 1 Designed in the Mind: Western visions of Science, Nature and Humankind 1 2 The Western Experience of Scientific Objectivity 13 3 Historical Perceptions of Medieval Science 31 4 Robert Grosseteste 39 5 Roger Bacon [with J.D. North] 51 6 Infinite Power and the Laws of Nature: A Medieval Speculation 67 7 Experimental Science and the Rational Artist in Early Modern Europe 89 8 Mathematics (...) and Platonism in the Sixteenth-Century Italian Universities and in Jesuit Educational Policy 115 9 Sources of Galileo Galilei’s Early Natural Philosophy 149 10 The Jesuits and Galileo’s Ideas of Science and of Nature [with A. Carugo] 165 11 Galileo and the Art of Rhetoric [with A. Carugo] 231 12 Galileo Galilei: A Philosophical Symbol 257 13 Alexandre Koyré and Great Britain: Galileo and Mersenne 263 14 Marin Mersenne and the Origins of Language 275 15 Le Corps à la Renaissance: Theories of Perceiver and Perceived in Hearing 291 16 Expectation, Modelling and Assent in the History of Optics: i, Alhazen and the Medieval Tradition; ii, Kepler and Descartes 301 17 Contingent Expectation and Uncertain Choice: Historical Contexts of Arguments from Probabilities 357 18 P.-L. Moreau de Maupertuis, F.R.S. : Précurseur du Transformisme 407 19 The Public and Private Faces of Charles Darwin 429 20 The Language of Science 439 21 Some Historical Questions about Disease 443 22 Historians and the Scientific Revolution 451 23 The Origins of Western Science 465 Appendix to Chapter 10: 479 Sources and Dates of Galileos Writings [with A. Carugo] Pietro Redondi, Galileo eretico [with A. Carugo] Mario Biagioli, Galileo, Courtier Corrections to Science, Optics and Music in Medieval and Early Modern Thought 495 Index 497. (shrink)

Why battles matter -- Accepting the wager of battle -- Laying just claim to the profits of war -- The monarchical monopolization of military violence -- Were there really rules? -- The death of pitched battle.

This is the very first authoritative book on the role of Carl Gustav Carus (1789-1869) in the history of psychology. Carus was the initiator of the notions of development, unconscious, and archetype in psychology. The book emphasizes the interdisciplinary focus of Carus’ work as it was based on the literature and art of his time and is closely related with medicine and Naturphilosophie. The readership of the book will get access to the life course of a key figure of (...) class='Hi'>science of the 19th century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The History of Ideas:Precept and Practice, 1950–2000 and BeyondAnthony GraftonIn the middle years of the twentieth century, the history of ideas rose like a new sign of the zodiac over large areas of American culture and education. In those happy days, Dwight Robbins, the president of a fashionable progressive college, kept "copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that (...) had no name" on the table in his waiting room. True, Robbins did not exist: he was the fictional president of Randall Jarrell's equally fictional Benton, a liberal arts dystopia where "[h]alf of the college was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe."1 But Jarrell's notation of the Journal's status was accurate nonetheless.2The Journal, in the twenty years or so after its foundation, attracted attention from many quarters, some of them unexpected. And it occupied a unique position, between the technical journals of history and philology, [End Page 1] each firmly identified with a discipline, in which professional humanists normally published their results, and the quarterlies, often based not in disciplines but in liberal arts colleges and universities, which cultivated a mixed readership to which they offered fiction and poetry as well as essays. By contrast with both, the JHI fifty years ago ran on a rich mix of technical articles and wide-ranging essays that could easily have attracted the attention of a sophisticated administrator—or at least made a good impression on his coffee table. Bliss was it to be a subscriber in that happy day when the JHI glowed with something of the luster that haloed Representations in the 1980s and Critical Inquiry more recently.3The main reason for the Journal's prominence was that it represented a new field, appealingly located between disciplines as the Journal was between other sorts of periodical. In its postwar heyday, the history of ideas was not a dim subdivision of history, itself a discipline whose luster has worn off with time, but an intellectual seismic zone where the tectonic plates of disciplines converged and rubbed against one another, producing noises of all sorts. In recent years, it has sometimes seemed impossible, even to the best informed observers, that intellectual history, or the history of ideas, ever enjoyed this sort of prestige. A quarter century ago, Robert Darnton surveyed the state of intellectual and cultural history in the United States in an informative and influential essay. Using a language more resonant of the historical President Carter than the fictional President Robbins, Darnton detected "malaise" everywhere he looked. In the fifties, he noted, intellectual historians had seen "their discipline as the queen of the historical sciences. Today she seems humbled." True, desperate cries for help were not yet called for. Historians continued to write histories of ideas, and even to cast them in the technical languages of A.O. Lovejoy or Perry Miller: "one still finds 'unit-ideas' and 'mind' among the trendier terms." The just-published Dictionary of the History of Ideas, moreover, offered a vast selection of Lovejoyan formal analyses, systematically organized, to the reading public.4 [End Page 2]But for the last ten years, Darnton argued, younger scholars, especially graduate students, had been scrambling over the gunwales of the good ship History of Ideas, abandoning the effort to converse abstractly with the mighty dead, and clambering in hordes over the side of a newer vessel, Social History, which boasted a Hogarthian passenger list of heretics, misfits, and military women. At the level of the dissertations written in history departments, social history was outpacing intellectual, by a proportion of three to one. At the level of the scholarly journal, too, social history had forged ahead, though by a smaller margin. In the murkier, but no less significant, world of opinion, finally, the decline of intellectual history appeared clearest. History of ideas no longer occupied the cutting edge in young scholars' mental vision of their discipline.Social history, after all, had captured the minds of a generation—or a large percentage of it—in the 1960s, thanks both to the power of... (shrink)

Utilizing a decade's worth of clinical experience gained since its original publication, Mary Jo Peebles builds and expands upon exquisitely demonstrated therapeutic approaches and strategies in this second edition of _Beginnings_. The essential question remains the same, however: How does a therapist begin psychotherapy? To address this delicate issue, she takes a thoughtful, step-by-step approach to the substance of those crucial first sessions, delineating both processes and potential pitfalls in such topics as establishing a therapeutic alliance, issues of trust, and (...) history taking. Each chapter is revised and expanded to include the latest treatment research and modalities, liberally illustrated with rich case material, and espouse a commitment to the value of multiple theoretical perspectives. Frank and sophisticated, yet eminently accessible, this second edition will be an invaluable resource for educators, students, and seasoned practitioners of any therapeutic persuasion. (shrink)

Nobel laureate Roald Hoffmann's contributions to chemistry are well known. Less well known, however, is that over a career that spans nearly fifty years, Hoffmann has thought and written extensively about a wide variety of other topics, such as chemistry's relationship to philosophy, literature, and the arts, including the nature of chemical reasoning, the role of symbolism and writing in science, and the relationship between art and craft and science. In Roald Hoffmann on the Philosophy, Art, and (...) class='Hi'>Science of Chemistry, Jeffrey Kovac and Michael Weisberg bring together twenty-eight of Hoffmann's most important essays. Gathered here are Hoffmann's most philosophically significant and interesting essays and lectures, many of which are not widely accessible. In essays such as "Why Buy That Theory," "Nearly Circular Reasoning," "How Should Chemists Think," "The Metaphor, Unchained," "Art in Science," and "Molecular Beauty," we find the mature reflections of one of America's leading scientists. Organized under the general headings of Chemical Reasoning and Explanation, Writing and Communicating, Art and Science, Education, and Ethics, these stimulating essays provide invaluable insight into the teaching and practice of science. (shrink)

The legacy of classical antiquity -- War and peace in the medieval world -- Holy wars, crusades, and religious wars -- Humanism and Neo-Stoicism -- The search for a science of peace.

Roald Hoffmann's contributions to chemistry are well known; this Nobel laureate has published more than 500 articles and two books. As an "applied theoretical chemist," he has made significant contributions to our understanding of chemical bonding and reactivity, and taught two generations of chemists how to use molecular orbitals for real chemistry. Less well known, however, are Hoffmann's important and insightful contributions to the areas of scholarship surrounding chemistry. Over a career that spans nearly fifty years, Roald Hoffmann has thought (...) and written copiously about the broader context of chemistry and its relationship to the arts and poetry. This book contains Hoffmann's essays and is organized around several major themes: chemical reasoning and explanation, writing and communicating in science, ethics, art and science, and chemical education. A few are unpublished lectures that are valuable additions to the volume. The editors have the full cooperation of Roald Hoffmann in this project. Most of the published work will be reprinted verbatim, but a few of the essays will be revised to eliminate redundancy. The unpublished lectures will also be edited since they were originally intended to be delivered orally at specific occasions. The editors will provide an introduction to the book, and some introductory material for each section. In introducing the material, they will highlight the intrinsic importance and interest of the ideas, as well as the places where Hoffmann's thought makes novel contributions to cognate areas. (shrink)

Holography exploded on the scientific world in 1964, but its slow fuse had been burning much longer. Over the next four decades, the echoes of that explosion reached scientists, engineers, artists and popular culture. Emerging from classified military research, holography evolved to represent the power of post-war physics, an aesthetic union of art and science, the countercultural meanderings of holism, a cottage industry for waves of would-be entrepreneurs and a fertile plot device for science fiction. New working (...) cultures sprang up to mutate holography, redefining its products, reshaping its audiences and reconceiving its applications. The outcomes included ever more sublime holograms and exquisitely sensitive measuring techniques - but also priority disputes, prurience and poisonous business rivalries. New subjects cross intellectual borders, and so do their explanations. This book draws on the history and philosophy of science and technology, social studies, politics and cultural history to trace the trajectory of holography. The result is an in-depth account of how new science emerges. Based on unprecedented interviews with pioneer holographers and extensive archival research, it reveals how science, technology, art and wider culture are entwined in the modern world. (shrink)

We often forget that art and science are not dissociated, nor indeed antagonistic, but rather allow a creative interplay to emerge from which arises the generation of new forms of knowledge. According to Parkinson, “the analogy between the new painting and the new physics consists in that elements formerly held as cognitive or conceptual a-prioris enter as constitutive factors in the very structure of the edifices of art and science”. How exactly does it work? If for us nowadays (...) it’s relatively easy to think of the mimetic moment of art as a prelude to geometry, it is not so trivial to claim how higher-order representational symbolic epistemic structures arise from the lifeworld, or simply how both interact together. The aim of this paper is to stake out the complexity of processes going from the lifeworld and, before that, from the life of pictorial language, to h.o.r.s.e.s., in order to apply this model to further enquiries. In the first part, we will reactivate the Kantian interdependence between aesthetics and epistemology via the intersubjective dimension, in order to understand how the shaping of forms and the figuring-out patterns remain an essential component of any epistemic structure as such. In the second part, moving from Hacking, Husserl and Foucault, we will look into the way in which the evidence of symbolic structures can be maintained even alongside a genetic conception of science. Art plays an essential role in such a conception, in that it opens new horizons of figurativity in which new shapes can arise and new kinds of objectivities can be accepted as belonging to our epistemic experience of the world. (shrink)

William Bartram would accompany his botanizing father, John, into the wilderness and he would famously memorialize his own explorations with an account that mixed romantic conventions with natural history and Quaker theology. William’s interior life corresponds to the spirit of Virgil’s Eclogues with its promise of the resto­ration of a Golden Age, replete with bucolic scenes of shepherds tending their flocks and singing nature’s praises. This paper addresses some of the political interpretations that Bartram’s work has received and argues that (...) William was focused on a distant past which he was introduced to through the classical curriculum at the newly founded Academy of Philadelphia. William’s curriculum guaranteed an introduction to the conventions of the sublime and the picturesque, since Addison’s Spectator was also required reading and he was well-versed in Linnaean nomenclature, but wherever William botanized his observations of the natural world were framed by classical literature. His tour of ancient Indian ruins where he imagined an Areopagus and a space free of strife and bloodshed is a dramatic example of William’s habit of importing a place defined by classical literature into his natural history. (shrink)

Languages play an essential role in communicating aesthetic, scientific and religious convictions, as well as laws, worldviews and truths. Additionally, metaphors are an essential part of many languages and artistic expressions. In this paper I will first examine the role metaphors play in religion and art. Is there a specific focus on symbolic and metaphoric language in religion and art? Where are the analogies to be found in artistic metaphors and religious ones? How are differences to be described? How do (...) various concepts of aesthetics and theological concepts explain those different kinds of language and how, if at all, do they make use of them? Lastly: what could be added to aesthetics, philosophy and theology by examining carefully the role and importance of language, including nonverbal, sign language and especially metaphorical language? Without the human capacity for language, religions are scarcely imaginable. A widening of traditional exegesis and hermeneutics by taking into account nonverbal semantics is needed. Religion is a cognitive and linguistic phenomenon. By taking this seriously, we set and enable an agenda to discuss religion scientifically, leaving aside for the purpose of a scientific understanding and discourse about the inter-religious and the inner-religious claims of truth and absolutist claims. To sum it up: metaphor is introduced as an important means of language when it comes to religious conceptualization. Next, I will show that art, more than religion, deals with visual metaphor – the latter being an image that suggests a particular association, similarity or analogy between two generally unconnected visual elements. This often, but not always, functions in a roughly comparable fashion to the better-known concept of verbal metaphor. In addition, visual metaphor has developed many original and unique characteristics. These two sections are followed by another one dealing with cultural philosophy of religion and aesthetics, as well as the meaning of metaphors for these disciplines. The next section is on metaphor and metaphorical language in mathematics, natural sciences and art and how they are related, i.e. influence and help each other. I will discuss the critical approach to metaphors in natural science and provide a short introduction to the cultural history of mathematics and art. Mathematicians and artists have long been on the quest to understand the physical world they see before them and the abstract objects they know by thought alone. How have art and mathematics helped each other in representing each other’s concepts? A final section provides a summary and an outlook: theology is contextual as is science – and so is art. All these disciplines partly rely upon metaphor and by the help of metaphor get closer to an intercultural and interdisciplinary understanding. I shall argue that, by dealing more carefully with their metaphorical language and their own metaphors, together they become better equipped to map the world. (shrink)