Berulang kali saya ditanya oleh sesama umat Katolik apakah buku bacaan Misa Katolik juga dipakai oleh gereja Protestan, sebab mereka mengalami bahwa dalam ibadat hari minggu gereja Kristen lain dipakai bacaan Alkitab yang sama. Memang belum banyak diketahui perkem-bangan luar biasa yang selama setengah abad terakhir terjadi berkaitan dengan lectionarium atau leksionari ibadat hari Minggu dalam seluruh umat Kristen. Karena itu publikasi thesis Pendeta Y.B. Mulyono (S2 di STT Proklamasi) tentang Revised Common Lectionary (RCL) sangat di-butuhkan, dan membantu juga diri (...) saya.... Thesis M. yang diterbitkan dengan rapi oleh Grafika KreasIndo (Sinode GKI) menjadi bacaan penting bagi setiap pengkhotbah, entah pendeta atau imam, dan hendaknya mendapat tempat dalam pendidikan hermeneutika dan homiletika para calon imam dan pendeta. (Martin Harun, Guru Besar Ilmu Teologi Emeritus, Sekolah Tinggi Filsafat Driyarkara, Jakarta). (shrink)

Vertaling (verkorte versie) van en commentaar op de wijsgerige verhandeling van de Nederlandse filosoof (1632-1677) over de betekenis van het christendom.

In Moral Literacy, or How to Do the Right Thing, Colin McGinn proposes a consequentialist solution to the abortion dilemma. McGinn interprets moral rights and moral interests as attributable only to actually sentient beings by virtue of their ability to experience pleasure or pain. McGinn argues against the moral rights of potentially conscious human fetuses, on the grounds that the unjoined ova and spermatazoa of any fertile men and women are also potentially sentient, but we do not generally suppose that (...) unjoined human genetic germ plasm has moral rights. I argue that McGinn’s reply equivocates between two different senses of ‘potential sentience’. I distinguish between strong and weak potentiality, or between naturally probable potentiality and merely logically possible potentiality. I agree that it is reasonable to deny that a weak or merely logically possible potentially sentient fetus that would result from any unjoined ovum and sperm has a moral right to life. But I claim that this fact does not diminish the plausibility of extending a moral right or potential moral right to life to a naturally probable potentially sentient fetus, which we have good reason to believe will actually become sentient in the natural course of things if nothing is done to prevent its normal development. I conclude that it is not merely the potentiality, but the strong potentiality of a healthy, normally developing fetus that is soon to acquire sentience, moral interests, and, on McGinn’s own terms, a moral right to life, that continues to sustain the abortion contro‐versy, even among those who also want respect a woman’s moral right to reproductive self‐determination. (shrink)

Intanto, chi è Testadura? Nel 1964 Arthur C. Danto pubblica sul “Journal of Philosophy” un saggio destinato a diventare un punto di riferimento importante per l’estetica analitica del Novecento: The Artworld. Testadura è il personaggio – dal simpatico nome italiano – che incarna il punto di vista opposto a quello sostenuto da Danto. Il problema che incuriosisce il filosofo americano, spingendolo a elaborare una filosofia dell’arte per molti versi originale è, in realtà, una questione tipicame...

La riflessione del maestro inglese può senz’altro essere considerata per molti versi forte: basti pensare alla piena fiducia riposta nella convergenza di ragione e fede e nella sinergia di metafisica realista e logica della scrittura. Tuttavia, non mancano tracce di debolezza: il discorso teologico del primo Wyclif non solo è più complesso e articolato di quanto non si sia soliti pensare, ma oltretutto sembra condurre a conclusioni ben lontane dall’affermazione estrema e urtante di un unico partito possibile per Dio (...) e per l’uomo. Quanto alle formulazioni più mature, oltre alla possibilità di rintracciare indizi di debolezza nello spirito delle tesi giovanili, sembra anche attestabile la presenza di tracce di indebolimento: questo è il bilancio da trarre circa gli interventi correttivi cui Wyclif sottopose le proprie dottrine teologiche, private con il procedere degli anni del sostegno garantito dai ben congegnati argomenti filosofici.La stessa ricezione del suo pensiero da parte della tradizione può dirsi debole, viziata da fraintendimenti e da letture unilaterali, nonché spesso priva del conforto di riscontri testuali.Il ritratto ben noto del riformatore inglese – alla luce di quanto detto sin qui – reclama forse un ricorso più convinto al chiaro-scuro. Basti pensare al dubbio circa l’efficacia del tentativo proposto proprio nel giovanile De universalibus, così come nel De dominio divino, di una conciliazione tra la necessità degli eventi futuri quoad prescienciam Dei e la libertà umana di determinare le proprie azioni, che pure sembrerebbe suffragata da molte evidenze testuali.Un modo, questo, per dire che la ballata leggendaria di un Wyclif determinista continuerà ancora a essere cantata. (shrink)

Dit boek bevat de uitgebreide, geannoteerde en geïllustreerde versie van de 48ste Huizinga-lezing die Marlene Dumas vrijdagavond 6 december 2019 heeft uitgesproken in de Pieterskerk in Leiden. Dumas spreekt onder meer over het onderscheid tussen de kunstenaar en diens werk, het nadeel van een titel en de naaktheid van mannen in de kunst. 0Het boek bevat tevens een interview met Marlene Dumas, een schets van het leven en werk van Johan Huizinga, de naamgever van de lezing, en een korte geschiedenis (...) van de Huizinga-lezing, die al sinds 1972 bestaat. (shrink)

De mens is in de afgelopen drie eeuwen vaak vergeleken met allerlei soorten machines. In de achttiende eeuw was de klokmetafoor tamelijk populair; psychologische termen als ‘drijfveer’, ‘van slag raken’ en ‘opgewonden zijn’ herinneren hier nog aan [Vroon and Draaisma, 1985]. In de negentiende eeuw overheerste de stoommachine-metafoor. De psychologie van Freud wordt wel als een uitgewerkte versie van deze metafoor beschouwd [Russelmann, 1983]. Ook uitdrukkingen als ‘uitlaatkleppen’, ‘stoom afblazen’ en ‘iemand opstoken’ zijn eraan te danken. De stoommachine-metafoor wordt nog (...) steeds serieus genomen. Zo pleegt men de menselijke geest in de nieuwe ‘dynamische’ school in de cognitieve wetenschappen bij voorkeur te vergelijken met James Watts centrifugale regulateur (1788), het apparaat dat ervoor zorgt dat een stoommachine op een constant snelheid werkt [van Gelder, 1995, 1998]. De laatste vijftig jaar komt men de metafoor van de seri¨ele digitale computer vaak tegen. Een PC is een voorbeeld van zo’n computer. Hij is serieel omdat de centrale processor slechts ´e´en berekening tegelijk kan uitvoeren; hij is digitaal omdat hij alleen met gehele getallen kan omgaan. Het voorbeeld bij uitstek van een seri¨ele digitale computer is de Turing-machine, waarover aanstonds meer. De seri¨ele digitale computer metafoor is op verschillende manieren op mensen toegepast. Zo beschouwen sommigen de gehele mens als een computer van dit type, terwijl anderen menen dat de afzonderlijke zenuwcellen op deze manier beschreven kunnen worden. In het onderstaande zal ik de vraag bespreken in hoeverre men de mens, of onderdelen van de mens, inderdaad als seri¨ele digitale computer mag opvatten. Ik zal laten zien dat deze vergelijking maar een beperkte waarde heeft. Het valt niet uit te sluiten dat de mens in computationeel opzicht een veel sterker of zwakker soort machine is dan de Turing-machine. (shrink)

Chi ha l'abitudine di sfogliare le riviste filosofiche sa che "metafisica" non è più una parola che scotta. I maestri dell'inizio del secolo (gli empiristi logici sono l'esempio più tipico) identificarono la metafisica con il non-senso e usarono la parola come un marchio di infamia. Non mancavano precedenti nella storia della filosofia. Ma oggi gli allievi di quei maestri preferiscono rifarsi ad un uso diverso, meno fazioso, del termine per indicare con esso un'indagine filosofica, che non solo non deve essere (...) trascurata, ma concerne i fondamenti di molte altre ricerche, ed è quindi per molti versi centrale. (shrink)

Veel wetenschappers, filosofen en theologen zijn van mening dat God nooit opgevoerd mag worden als verklaring voor een verschijnsel. Eén argument dat ze hiervoor aandragen is dat het op de een of andere manier in de aard van wetenschap zit dat God er geen rol in kan spelen. In dit artikel ga ik in op een specifieke versie van dit argument. Ik vraag me af of de aard van wetenschappelijke verklaringen uitsluit dat God als verklaringsgrond wordt genoemd. Om die vraag (...) te beantwoorden ga ik na of de door wetenschapsfilosofen ontwikkelde standaardmodellen van wetenschappelijk verklaren ruimte bieden aan theïstische verklaringen. Dat blijkt inderdaad zo te zijn, enige kwalificaties daargelaten. De conclusie moet dan ook luiden dat de aard van wetenschappelijke verklaringen niet zodanig is dat theïstische verklaringen uitgesloten zijn. (shrink)

Abstrak: Di tengah-tengah perdebatan panjang antara realisme dan anti realisme dalam filsafat ilmu, realisme struktural (RS) diajukan sebagai gagasan yang terbaik dari keduanya. Versi epistemik RS (RSE) berpendapat bahwa kita memiliki alasan yang baik untuk percaya bahwa teori memiliki struktur yang tepat, yaitu bahwa wujud dan struktur yang dipostulatkan oleh teori betul-betul ada. Namun demikian, RSE tidak mengajukan dakuan epistemik menyangkut hakikat wujud yang melandasi struktur. Semua pengetahuan mengenai dunia fisis adalah pengetahuan tentang struktur. Dalam tulisan ini penulis memberi (...) tinjauan tentang RSE dan beberapa argumen yang menolak RSE. Belajar dari sejarah fisika zarah, penulis akan memperlihatkan bahwa struktur menunjuk ke sifat-sifat mendasar yang dimiliki oleh komponen-komponennya dan dengan demikian menyediakan jalur epistemik bagi wujud yang relasi-relasinya mendefinisikan struktur. Meski demikian, struktur matematis sebuah teori hanya memungkinkan kita membangun pengetahuan tentang wujud-wujud yang tidak teramati sebagai “objek” dan bukan objek-objek partikular. Kata-kata Kunci: Realisme, anti-realisme, realisme struktural epistemik, argumen tanpa keajaiban, meta-induksi pesimistik, wujud takteramati. Abstract: In the lengthy debate between antirealism and realism in the philosophy of science, structural realism (SR) has been suggested as “the best of both worlds.” The epistemic version of SR (ESR) holds that we have good reason to believe that our most successful scientific theories are structurally correct—that the entities and structures postulated by a theory actually exist, and yet it makes no epistemic claim about the nature of the underlying entities. All that we can know is the structure of the physical world. In this article I present an overview of ESR and a number of arguments that have been brought up against it. Drawing lessons from the history of contemporary physics, I will show that “structure” points to the fundamental properties of its constituents and thus provides an epistemic access to the nature of those entities whose relations define structure in the first place. Nevertheless, the mathematical structure of a theory enables us only to construe knowledge of an unobservable entity as “object,” and not this or that particular object. Keywords: Realism, anti-realism, epistemic structural realism, no miracle argument, pesimistic meta-induction, unobservable entity. (shrink)

Il concetto di nulla viene assunto come chiave ermeneutica per accostare la proposta teoretica di uno dei maggiori rappresentanti del pensiero ebraico contemporaneo: Franz Rosenzweig (1886-1929). Attraverso l'analisi dei luoghi, delle accezioni e delle valenze con cui il nulla si presenta nelle pagine della "Stella della redenzione", si evidenzia come ai diversi significati attribuiti da Rosenzweig a questo concetto corrispondano differenti modi di intendere la filosofia. I temi della filosofia del nulla, della creatio ex nihilo e della morte intesa come (...) nulla esistenziale scandiscono la lettura dell'opus maius di Rosenzweig e mostrano come egli, nel teorizzare un "nuovo pensiero" che vuole rendere conto dell'esperienza religiosa attraverso categorie alternative a quelle onnicomprensive della tradizione filosofica, rimanga per certi versi ancora legato all'idealismo critico. (shrink)

È un onore per me, e nello stesso tempo un grande piacere, aprire il convegno su Franz Rosenzweig e il futuro del suo «nuovo pensiero». Permettetemi, in qualità di Presidentessa dell’Internationale Rosenzweig-Gesellschaft, di presentare i miei ringraziamenti e la mia gratitudine – e quelli della Società – alle autorità accademiche dell’Università di Chieti-Pescara e agli organizzatori dell’evento. Vorrei anche cogliere l’occasione di questo Convegno per richiamare il ricordo della nostra Presidentessa onoraria, Rivka Horwitz, deceduta di recente, il 4 gennaio 2007, (...) a Gerusalemme. Riwka Horwitz, che partecipava attivamente a tutti i nostri incontri – mi ricordo della sua presenza e dei suoi interventi a Kassel, ma anche a Tempe, in Arizona –, ha ancora potuto partecipare al nostro Convegno di Gerusalemme, ed è con sorpresa, e con molta tristezza, che abbiamo saputo della sua scomparsa. Veniva dalla Germania: nata nel 1929 a Bad Homburg, era emigrata fin dal 1933 in Palestina, ed è in Israele che aveva scelto di vivere ed insegnare – soprattutto all’Università Ben Gurion, a Beer Sheva, dal 1975. Ma dopo la guerra non aveva neppure avuto timore di tornare in Germania e di interessarsi là delle tracce dell’eredità ebraica. Questo fatto manifestava già il carattere intrepido che mi ha sempre colpito in lei: è necessario ad una donna – soprattutto una donna che, come lei, veniva dal mondo ebraico ortodosso e praticante – per pretendere di farsi strada in un Paese ostile, un Paese che dovette apparirle ostile, e che lo era, senza alcun dubbio, per molti versi. (shrink)

Wim Bakker e Arnold van Gemert hanno recentemente licenziato per la stampa l'edizione critica del Θϱηνος εἰς τὰ Πάθη ϰαὶ τὴν Σταύϱωσιν του Кυϱίου ϰαὶ Θεου ϰαὶ Σωτηϱος ἡμων Ἰησου Хϱιστου, poema drammatico unico nel suo genere, in versi decapentasillabi (in gran parte rimati). L'opera è anche l'unica, tra quelle composte dal poeta cretese Marinos Falieros (1395?–1474) e pervenute fino a noi (complessivamente cinque), ad aver avuto l'onore di esser sottoposta ai torchi dei tipografi veneziani nel Cinquecento. Almeno fino (...) ad oggi non è stato reperito in nessuna biblioteca alcun esemplare di questa cinquecentina. Si è salvato solo un apografo, Tubing. Mb 27, f. 171–184, datato 22 gennaio 1585 e copiato per Martinus Crusius dall'allievo Daniel Schuhmaier. Il componimento di Falieros è arrivato quindi fino a noi solo per un caso fortunato, tramite una sola fonte indiretta, una copia manoscritta di un'unica edizione a stampa (1543/44). (shrink)

‘Men kan, en dat doe ik zeker, persoonlijk van mening verschillen inzake veel van de sociaal-politieke keuzes die Dostojevski tijdens zijn leven maakte, met name in het latere deel van zijn carrière. Als journalist ontwikkelde hij zijn eigen idealistisch geformuleerde versie, opgetuigd met christelijke verwijzingen, van wat in feite Russisch imperialisme was. Maar niettemin staat vast dat zijn romans enorm hebben bijgedragen aan het levend houden van de ‘idealen van de mens’, in elk geval in de vormen die eigen zijn (...) aan de westerse cultuur, op een manier die slechts weinig andere schrijvers van zijn en onze tijd kunnen evenaren.’. (shrink)

1 Il primo inganno Tu non nascesti per la morte, immortale Uccello!le affannate generazioni non ti calpestano;la voce ch’io odo in questa fuggevole notte fu uditain antichi giorni dall’imperatore e dal villano. Questi versi dall’ Ode a un usignolo di John Keats, del 1819, ripropongono la domanda retorica che già Kant aveva posto nel 1790: «Che cosa c’è di più celebrato dai poeti dell’affascinante bel canto dell’usignolo, in cespugli solitari, in una calma sera d’estate, sotto la dolce luce de...

L’articolo offre un’analisi puntuale dei versi che Dante dedica a Maometto nel ventottesimo canto dell’Inferno, al fine di precisarne le finalità poetiche e ideologiche; il passo viene poi collocato nel contesto costituito dai numerosi riferimenti al profeta dell’Islam presenti nella letteratura italiana duecentesca e primo-trecentesca, qui raccolti, analizzati e organizzati in maniera puntuale. Gli elementi connotativi riconosciuti nell’episodio infernale e in altri riferimenti alla civiltà islamica che si leggono nel capolavoro dantesco, pur nella loro geniale eccezionalità artistica, risultano così (...) coerentemente inseribili in un più vasto e articolato panorama culturale che emerge dalla ricerca, nel quale, all’ostilità per l’Islam inteso come entità religiosa e politica, si affianca la curiosità per il mondo musulmano percepito invece come comunità culturale, rilevabile anche presso fasce inaspettate del pubblico medievale.This paper analyses the episode of Muhammad in Dante’s Inferno, recognizing its poetical and ideological features in order to proceed with its insertion in the survey of references to the prophet detectable in the Italian literature of the Thirteenth and Fourteenth centuries. The study allows to identify the substantial coherence between Dante’s ideological opinions toward Islam and the positions about the same subject expressed in the other works of the vernacular literature of his time, showing a general rejection for religious and political Islam, but also the interest for Islam as cultural entity. (shrink)

Della produzione didascalica di argomento astronomico dell’età ellenistica la tradizione manoscritta ci ha consegnato soltanto i Fenomeni di Arato, poema che sin da subito ha goduto di un vasto successo, testimoniato da riscritture, commenti e traduzioni. Poco sappiamo della poesia astronomica non aratea, di cui rimangono sparute testimonianze ed esempi frammentari, tra cui spiccano i cinque esametri sulla luna di Egesianatte (SH 466-467). Il presente contributo intende valutare la posizione di Egesianatte all’interno della poesia didascalica di argomento astronomico, prendendo in (...) considerazione le testimonianze sulla sua produzione astronomica e analizzando tanto il contesto di citazione dei versi, quanto il testo stesso dei frammenti. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

1. Un incontro mancato I legami tra Edmund Husserl e Alexius Meinong, e più in generale tra fenomenologia tedesca e teoria degli oggetti, narrano una storia per certi versi paradossale, che vede i due brillanti allievi e caustici critici di Franz Brentano percorrere per un lungo periodo di tempo binari di pensiero non lontani gli uni dagli altri, in certi momenti persino paralleli, per poi divergere proprio nel momento in cui le loro conclusioni andavano consolidandosi, aprendo la strada a (...) un... (shrink)

The Decalogue is the ten commandments which are a covenant between God and His people. Written on two tablets of stone, this Decalogue is apodictive (unconditional command and prohibition). It expresses the love between God and His people and between members of the people. This article shows that in the Pentateuch there are two versions of the Decalogue (Ex. 20:1-17 and Deut. 5:6-21) with some differences between them. Deuteronomy 5:6-21 contains additions to Exodus 20:1-17. Ex. 20:1-17 was spoken by God (...) himself to the Israelites at Mount Sinai; Deut. 5:6-21 by Moses in the plains of Moab when quoting Ex. 20:1-17. The commandment to keep the Sabbath day holy in Ex. 20:8-11 is motivated by God’s rest on the seventh day of creation; in Deut. 5:12-15 it is motivated by Israel’s liberation from slavery in the land of Egypt. Ex. 20:13-17 contains fi ve social commandments in no apparent order; Deut. 5:17-21 contains six social commandments inparallel arrangement. The Decalogue, as a law does not guarantee its implementation. And the Israelites repeatedly violated or disobeyed the law. Therefore, God Himself takes the initiative and intervenes toensure its implementation. After the destruction of the city of Jerusalem as an outward sign of the end of the Old Covenant, the prophet Jeremiah prophesied the New Covenant at the initiative of God to bewritten in the hearts, so that previously impossible loyalty would now become a reality (Jer. 31:31-34). Thus, the New Covenant is not different from the Sinai Covenant, but rather a renewal of YHWH’s faithfulnesswhich is rebuilt and deepened continuously so that it becomes a “covenant without end” (Lam. 3:22-23). Abstrak Dekalog adalah sepuluh fi rman yang merupakan pernjanjian antara Allah dengan umat-Nya, tertulis dalam dua loh batu. Dekalog yang bersifat apodiktif (perintah dan larangan tanpa syarat) mengungkapkankasih antara Allah dengan umat-Nya dan antarumat Allah. Artikel ini menunjukkan bahwa dalam Pentateukh terdapat dua versi Dekalog (Kel. 20:1-17 dan Ul. 5:6-21) dengan beberapa perbedaan. Ul. 5:6-21 memuat beberapa tambahan yang tidak terdapat dalam Kel. 20:1-17. Kel. 20:1-17 diucapkan sendiri oleh YHWH kepada bangsa Israel di gunung Sinai; Ul. 5:6-21 diucapkan oleh Musa di dataran Moab dengan mengutip isi Kel. 20:1-17. Perintah kuduskanlah hari Sabat dalam Kel. 20:8-11 bermotifkan istirahat Allah pada hari ketujuh saat penciptaan; dalam Ul. 5:12-15 bermotifkan pembebasan bangsa Israel dari perbudakan di tanah Mesir. Kel. 20:13-17 memuat lima perintah sosial tanpa urutan yang jelas; Ul. 5:17-21 memuat enam perintah sosial yang disusun paralel. Dekalog sebagai undang-undang tidak menjamin pelaksanaannya. Berulangkali bangsa Israel telah melanggar atau tidak setia pada penjanjian tersebut. Maka, Allah sendiri yang berinisiatif dan campur tangan demi terjaminnya pelaksanaan perjanjian-Nya. Sesudah penghancuran kota Yerusalem sebagai tanda lahiriah berakhirnya Perjanjian Lama, Nabi Yeremia menubuatkan Perjanjian Yang Baru atas prakarsa Allah yang akan ditulis dalam hati manusia, sehingga kesetiaan yang tadinya mustahil akan menjadi kenyataan (Yer. 31:31-34). Dengan demikian Perjanjian Yang Baru itu tidak berbeda dengan Perjanjian Sinai, tetapi lebih berupa pembaruan kesetiaan YHWH yang dibangun kembali dan diperdalam terus-menerus sehingga menjadi “perjanjian yang tak berkesudahan” (Rat. 3:22-23). (shrink)

Mijn wetenschappelijke bijdrage sluit aan bij het stuk van Jan Willem Klop in deze zelfde afscheidsbundel, dat ik van Jan Willem onder embargo te lezen heb gekregen. Je zult je herinneren dat Jan Willem in de CWI lezing ter gelegenheid van zijn eredoctoraat kort refereerde aan de Thue Morse reeks. Noem deze reeks M . Jan Willem gaf de versie die start met 1. Noem het resultaat van omwisselen van nullen en enen in de Thue Morse reeks M . De (...) reeks M is wat je krijgt als je het Thue Morse proces start met 0. (shrink)

Ilrischio che Lonzi intraprende con le altre è sia quello di pensarsi a partire da un ‘vuoto’, sia dinominare tale gesto ‘politica’. Infine, si potrebbe aggiungere, il rischio più grande che Lonziintraprende – e che la rende un’autrice scomoda sia per un pensiero della differenza che ha quasi deltutto abbandonato l’esplorazione del piacere femminile, sia per il pensiero transfemminista e queerche rifiuta la binarietà dei corpi sessuati e quindi, sospettiamo, la specificità fisiologica di unpiacere clitorideo – è quello di dire, (...) in un’epoca in cui il sospetto per la biologia e l’anatomia ètratto comune della riflessione teorico-politica – che i corpi hanno fattezze differenti e piaceridifferenti, a seconda del loro sesso anatomico. Legare il discorso sul corpo al piacere, e allacristallina differenza tra un piacere maschile e uno femminile – a loro volta differentementecollegati al processo di generazione – permette a Lonzi di politicizzare il corpo femminile senzaneutralizzarlo, senza trasformarlo solo in un dispositivo discorsivo. Il pensiero di Lonzi, quindi, seletto con onestà e lucidità, per certi versi può fungere da argine alla riduzione delle tematiche legateal sesso e alla sessualità a semplici questioni discorsive, o di preferenza. (shrink)

​Rintracciare con esattezza, nelle Meditazioni, la presenza di specifiche fonti letterarie è un'impresa audace e per certi versi poco utile. Considerata la riluttanza di Descartes a sottomettere il proprio pensiero a ogni genealogia e preso atto dello straordinario eclettismo che anima il Barocco (categoria culturale oltretutto sfuggente per definizione), sembra vano un tentativo di fissare definitivamente i richiami e le atmosfere che attraversano l'opera. Il rischio è anzitutto quello di mantenere indistinto ciò che è nell'autore da quanto è nel (...) suo tempo o è la tentazione contraria, forse più grave, di smembrare il pensiero cartesiano in una sequenza di rimandi semplicemente possibili. Non si può negare legittimità alla questione, tuttavia, laddove il campo di indagine sia ristretto all'eventualità di una funzione – narrativa, scenica, simbolica – assegnata da Descartes ad alcuni aspetti della visione barocca del mondo, che sembrano proporre, in decisivi punti di snodo delle Meditazioni, momenti di autentico teatro. Questa impostazione della ricerca ci spinge a considerare il capolavoro cartesiano ancor prima che una dissertazione di metafisica – e difficilmente questa definizione ne esaurisce l'essenza – come un vero e proprio elaborato filosofico-letterario, non privo di peculiarità narrative e stilistiche tipicamente barocche, quali l'uso strategico della “dissimulazione” e una certa vena ermetica. (shrink)

La "riforma" della dialettica hegeliana e la "circolazione" del pensiero europeo scandirono il progetto culturale del filosofo e politico Bertrando Spaventa. Ma la sua biografia intellettuale - dalla giovinezza alle ultime riflessioni sul realismo e sulla metafisica - mostra una ricchezza per tanti versi inesplorata: la lettura dei grandi autori del Rinascimento, a cominciare da Giordano Bruno, il confronto con i filosofi italiani contemporanei, il contributo alla vita civile, costituiscono momenti essenziali per lo sviluppo del suo pensiero. In occasione (...) del bicentenario della nascita (Bomba, 26 giugno 1817), alcuni dei suoi maggiori interpreti propongono con questo libro una ricostruzione dell'intero itinerario filosofico e civile di Spaventa. (shrink)

Perjumpaan Fransiskus Assisi dengan Sultan al-Kamil di tengah ko- baran perang salib akhir-akhir ini mendapat banyak perhatian dari pel- bagai macam peneliti (Hoeberichts 1997; Warren 2003, Tolan 2007, Moses 2009). Yang terakhir, Paul Moses—seorang Guru Besar Jurnalistik di Brooklyn College, New York— melakukan investigasinya sendiri dan menulis suatu buku yang sangat menarik dan aktual, seperti yang boleh diharapkan dari seorang pakar komunikasi. Landasan penting penelitian Moses adalah evaluasinya yang kritis terhadap sumber-sumber. Ia mengemukakan bahwa sumber-sumber tertua tentang peristiwa ini (Jacques (...) de Vitry, dan sebuah kronik yang anonim, keduanya saksi mata perang salib kelima itu) memberi gambaran lebih damai tentang perjumpaan ini ketimbang riwayat-riwayat hidup Fransiskus yang kemudian (Celano, Bonaventura, dll.) yang menggambarkannya sebagai misi yang konfrontatif, berusaha mempertobatkan Sultan untuk mencari kemartiran. Adalah Konsili Lateran IV (1215) dan Paus Innocentius III (1198-1216) serta penggantinya, Paus Honorius III, yang pada masa itu membangkitkan semangat untuk perang salib kelima guna merebut kembali Yerusalem yang belasan tahun sebelumnya direbut dari tangan penguasa Kristen oleh Salah ad-Din (Saladin), paman Sultan Malik al- Kamil. Kendati keluarga Sultan sudah memberitahukan bahwa Sultan bersedia menyerahkan kembali Yerusalem demi persetujuan damai, pihak Paus dan raja-raja Barat tetap mengobarkan semangat perang dan mengumpulkan pasukan. Menurut Moses, Fransiskus, dan saudara- saudaranya diharapkan oleh Gereja ikut mewartakan perang suci, tetapi ia memilih membawakan Injil ke seluruh Eropa, tidak terkecuali juga ke wilayah-wilayah Muslim. Serangan pasukan salib ke Kesultanan Mesir dimulai dari kota pela- buhan Damietta di delta Sungai Nil. Tawaran damai Malik al-Kamil, Sultan Mesir yang dikenal bijaksana dan juga moderat terhadap umat Kristiani di Mesir, kembali ditolak oleh Kardinal Pelagius, utusan Paus dalam perang salib kelima ini. Fransiskus datang ke camp crusaders pada Agustus 1219 dan memberi peringatan kepada para crusaders bahwa serangan mereka akan gagal, tetapi ia ditertawakan. Lalu pada September 1219 ia memutuskan untuk mencari jalan lain dengan menyeberangi lini permusuhan dan mendatangi Sultan al-Malik, tidak sebagai utusan tetapi hanya dengan pengetahuan Kardinal Pelagius menggambarkan Sultan al-Kamil sebagai binatang buas. Sebagai anak zamannya, Fransiskus ingin menciptakan damai dengan mewartakan Injil kepada Sultan. Hal itu tampaknya dilakukannya dengan cara yang khas, sebab dalam sumber tertua dikatakan bahwa Sultan mendengarkannya dengan penuh perhatian, dan memperlakukan Fransiskus sebagai tamu terhormat selama beberapa hari. Menurut Moses, Sultan mungkin terharu bahwa ada orang Kristiani yang berbeda dengan para agresor rakus yang ia kenal dari perang salib. Al-Kamil yang dikenal terbuka untuk Sufisme mungkin juga suka mendengarkan Fransiskus, karena Fransiskus terkesan mirip dengan seorang Sufi. Di lain pihak, Fransiskus juga terkesan dengan apa yang ia lihat, misalnya cara pasukan Muslim menjawab panggilan untuk berdoa............................................................... Kenyataan asli menurut Tolan ialah bahwa Fransiskus ingin menjalankan hidup rasuli sampai dengan mahkotanya, kemartiran, yang dapat ia peroleh dengan pergi mewartakan Injil kepada Sultan. Ini memang gam- baran yang jelas ada dalam biografi-biografi Celano dan Bonaventura, te- tapi tidak muncul dalam kronik-kronik lebih tua dan konteks hidup Fran- siskus sendiri. Kelemahan karya Tolan ialah bahwa ia kurang kembali kepada tulisan-tulisan Fransiskus sendiri dan riwayat hidupnya, seperti yang dilakukan secara mengesankan oleh Moses yang berhasil memper- lihatkan dalam konteks hidup Fransiskus suatu penolakan terhadap pe- rang, pewartaan damai, penghargaan terhadap praktik doa Islam, dan cara misi baru; yang semuanya harus dijadikan patokan untuk interpretasi per- jumpaan Fransiskus dengan Sultan. Tolan gagal melihat tema damai dalam riwayat hidup dan tulisan-tulisan Fransiskus itu, dan dengan demikian juga tidak mengakui adanya sesuatu yang inspiratif dalam peristiwa perjumpaan itu untuk hubungan Muslim–Kristiani masa sekarang. Sebaliknya, ia agak keras menolak interpretasi sejumlah peneliti dan gerakan damai sejak akhir abad ke-20 yang melihat misi Fransiskus sebagai misi damai dan menemukan dalam Fransiskus suatu model untuk menolak kekerasan perang dan mencari pendekatan baru, khususnya dalam hal ketegangan antaragama. Kelemahan karya Tolan ini sangat tampak justru dalam perbandingan dengan karya Moses, yang tidak mendiskusikan Tolan sebab terlambat menerimanya. Buku ketiga, St. Francis and the Conversion of the Muslims, karya Frank M. Rega, amat berbeda dengan kedua studi ilmiah di atas. Dengan tidak kritis sedikit pun, Rega menggabungkan semua yang bagus-bagus dalam pelbagai versi—dari kronik-kronik paling awal sampai ke legenda- legenda yang sangat kemudian—tentang perjumpaan Fransiskus dengan Sultan itu. Tanpa membedakan pelbagai versi dan bertanya tentang latarbelakang dan tujuan masing-masing, seperti dilakukan Tolan, Rega menciptakan suatu versi gabungan yang agaknya akan disukai oleh pembaca Katolik yang saleh dan konservatif (yang memang dilayani oleh penerbit Tan Books), tetapi tidak bernilai bagi seorang peneliti yang ingin menyingkapkan maksud Fransiskus sendiri dan sumber-sumber masing-masing; dan sangat mengecewakan pembaca kritis sekarang yang mencari ilham dalam adegan ini bagi masalah-masalah dunia sekarang. Cerita legendaris Rega yang penuh triumfantalisme yang hampir-hampir yakin bahwa Sultan bertobat dan dibaptis menjelang kematiannya, tentu lebih mengganggu hubungan Kristen dan Muslim sekarang daripada membantu menemukan suatu pendekatan baru. (Martin Harun, Program Studi Ilmu Teologi, Sekolah Tinggi Filsafat Driyarkara, Jakarta). (shrink)