Ethics in the anthropocene -- Atmospheric powers: climate change and moral incompetence -- Christian ethics and unprecedented problems -- Global ethics: moral pluralism and planetary problems -- Sustainability science and the ethics of wicked problems -- Toxic wombs and the ecology of justice -- Impoverishment and the economy of desire -- Intergenerational risk and the future of love -- Sustaining grace.

Challenging a long-standing assumption of the separation of ethical from poetic activity, this essay develops the basis for a theory of moral life as inherently and radically creative. A range of contemporary post-Kantian ethicists--including Ricoeur, Nussbaum, Kearney, and Gutiérrez--are employed to make the argument that moral practice requires a fundamental capability for creative transformation, imagination, and social renewal. In addition, this poetic moral capability can finally be understood only from the primordial religious point of view of the mystery of (...) Creation as such. Humanity as an image of its Creator is called to the endless impossible possibility of the re-creation of its own complex, plural, and fallen social world. Such a perspective is opposed to views of moral life as the application of law-like principles or the recovery of past moral histories. Without a better understanding of moral life's radically creative imperative, we miss a vital element of social relations' distinctive humanity. (shrink)

The religious and cultural situation of the late twentieth - early twentieth centuries is connected with the change of many world-view dominant. The need to study religious issues is linked to the geopolitical and denominational position of Ukraine between East and West; with those changes in the self-identification of Ukrainians after the Orange Revolution; with the need to preserve the spirit of tolerance of different denominations and cultures existing in the multinational country, which is characteristic of the Ukrainian (...) people. All of this paves the way for some opportunities to join the global community. (shrink)

Ervin Laszlo's notion of the interrelationship between evolution and creativity as being intrinsic to universal life processes has been influential to the biological and social sciences. Central to Laszlo's thinking is the notion of convergence in biological and social systems that are posited on creative complexity. In this article, I employ Laszlo's concept of creativity in relation to the human religious imagination. Cross-cultural studies of the religious imagination examine the architecture of human consciousness and ways of (...) knowing. These two areas are interlinked and generate new kinds of knowledge and understanding of the self and the world. In this way, the religious imagination is a means of generating new possibilities of mind and consciousness. (shrink)

Rituals are a very important part of daily life, traditions, cultural and religious gatherings and have a significant role on teaching about cultural heritage and social codes. Teaching about religious and cultural rituals have also important effects on personal development, acculturation and social engagement of an individual. Exploring and understanding the personal, cultural and social aspects of rituals is an important purpose of education and especially religious education. Educational drama offers educational environments that students can improve (...) class='Hi'>creativity, critical thinking, empathy, communication skills, knowing others and respect to differences. Creative drama offers a suitable learning environment for students to understand social aspects and importance of rituals it allows students to share their previous experiences and to learn from other students. The aim of this article is to determine the effects of creative drama on teaching about religious and cultural rituals in the school context. For this purpose, creative drama sessions on daily prayer in Islam, fasting in Ramadan, religious feasts in Islam, month of Muharrem and Ashoura and Nawruz Festival has been carried out with 16 secondary school students. Research data has been gathered with focus group interviews and analyzed with thematic analysis method via NVIVO program. It is determined that students have reached an understanding about; basic information about rituals, understanding the source of rituals, being eager to participate to the rituals and knowing about others. These findings can be considered as learning outcome of creative drama sessions on cultural and religious rituals. And students have found creative drama sessions are beneficial in regard of active participation, sharing personal experiences and exploring differences. (shrink)

The problem of freedom of conscience is an important component of the subject field of Ukrainian religious studies, both in the historical and contemporary context of its development. In view of the complex, all-encompassing transformation processes that have taken place in our country for eleven years of its independent existence and continue today, it has been and remains relevant and socially demanded in theoretical and practical terms.

The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have sought (...) to provide a more solid footing for philosophical anthropological discussions of uniquely human behavior. In particular, I have argued that art, religion and science, which are usually seen as achievements that are quite remote from ordinary modes of reasoning, are subserved by evolved cognitive processes that serve functions in everyday cognitive tasks, that arise early and spontaneously in cognitive development, that are shared cross-culturally, and that have evolved in response to selective pressures in our ancestral past. These mundane cognitive processes provide a measuring rod with which we can assess a diversity of cultural phenomena; they form a unified explanatory framework to approach human culture. I have argued that we can explain uncommon thoughts in terms of interactions between common minds. This dissertation is subdivided into four parts. Part I outlines the problem of human uniqueness, examining theories on how humans conceptualize the world, and what their mental tool box looks like. Part II discusses the evolutionary and cognitive origins of human artistic behavior. Part III focuses on the cognitive science of religion, especially on how it can be applied to the reasoning of theologians and philosophers of religion. Part IV considers the cognitive basis of scientific practice. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as (...) a commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

Creative encounters, appreciating difference: an introduction -- Appreciating difference : encountering, moving, naming -- Moving beyond place -- Territory -- I don't want to be a mystic! : on self-moving and religious experience -- Not by any name -- Creations of encounter -- Mother earth and numbakulla -- Storytracking the arrernte through the academic bush -- Mother earth : an American myth -- Aesthetic of impossibles -- Myth and an aesthetic of impossibles -- Tomorrow's eve and the next gen (...) study of religion -- Gesture -- Gesture posture prosthesis -- They jump up of themselves -- As prayer goes so goes religion -- Play -- No place to stand : Jonathan Z. Smith as homo ludens, the academic study of religion sub specie ludi -- To risk meaning nothing : Charles Sanders Peirce & the logic of discovery -- Creative encounters -- Creative encounters. (shrink)

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation (...) between creativity and the perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

Part I: Reprinted articles -- Twenty-fourth award of Aquinas medal by the American Catholic Philosophical Association to W. Norris Clarke, SJ -- Interpersonal dialogue : key to realism -- Causality and time -- System : a new category of being -- A curious blind spot in the Anglo American tradition of antitheistic argument -- The problem of the reality and multiplicity of divine ideas in Christian neoplatonism -- Is the ethical eudaimonism of Saint Thomas too self-centered? -- Conscience and the (...) person -- Democracy, ethics, religion : an intrinsic connection -- What cannot be said in Saint Thomas's essence-existence doctrine -- Living on the edge : the human person as frontier being and microcosm -- The metaphysics of religious art : reflections on a text of Saint Thomas -- Part II: New articles -- The immediate creation of the human soul by God and some contemporary -- Challenges -- The creative imagination : unique expression of our soul-body unity -- The creative imagination as treated in western thought -- The integration of personalism and thomistic metaphysics in twenty-first-century Thomism. (shrink)

Henry Nelson Wieman’s most distinctive philosophical contributions are his identification of creative interchange as the ultimate process in human experience through which people and their institutions are able to create, sustain, improve, and cor­rect their value perspectives and, equally important, his description of creative inter­change in psychological, sociological, histor­ical, religious, and institutional contexts as subject inquiry and the experimental test of consequences. This massive collection, thirty-three orig­inal essays with an appendix and index, rep­resents the first formal attempt to consider (...) fully the interdisciplinary implications of creative interchange. Following an introduc­tion, the book is structured into six sections, beginning with historical studies on the de­velopment of Wieman’s philosophy of creativity. With this information as a base the subsequent five sections treat: _ _his metaphysics and theory of knowledge; _ _his the­ory of value; _ _creative interchange in the context of rhetoric and literary criticism; _ _creative interchange as a guide for social phi­losophy; and creative interchange as re­lated to current philosophic trends. The essayists include prominent philosophers, such as Charles Hartshorne, Lewis E._ _Hahn, and S. Morris Eames, as well as emerging scholars who have responded to Wieman’s conception of creative interchange. (shrink)

This essay contends that reality is a creative evolutionary process by which the virtual is transformed into the actual and argues that our critical conception of realism in literature needs to be altered to reflect this purposive and progressive living reality in contrast to the static and dead actuality assumed by the conventional notion of realism as mimesis. Realist fiction writers who are profound creators have strategically employed metaphysically dipolar and ethically earnest literary genres in tandem with mimetic realism, resulting (...) in complexly interactive alternative and prophetic realisms that function as catalytic agents for progressive change in our world. (shrink)

At some point very early on in its development, Christianity split between two different pathways: one path stayed with the teaching of Jesus and the primacy of ethics, the other started with the return of Jesus and, therefore, with supernatural belief. Today, ethics has been largely sidelined, viewed as secondary or subservient to belief. Don Cupitt argues that the time has come to give ethics priority in defining and shaping religious life. As he puts it, "No longer should we (...) aim to conserve the self, preparing for eternity: we must simply expend it, by living generously.". (shrink)

Schopenhauer has influenced the work of more, and more distinguished, creative writers than any philosopher since his day, more even than Marx. This is especially true among novelists: Tolstoy, Turgenev, Zola, Maupassant, Proust, Hardy, Conrad, and Thomas Mann must be included. He also influenced short‐story writers such as Maugham and Borges, poets such as Rilke and Eliot, and dramatists such as Pirandello and Beckett. They were attracted, variously, by his psychological insight, his understanding of unconscious motivation, his disenchanted view of (...) human beings, and his non‐religious view of the cosmos, as well as by his teachings about the arts and the fact that he was himself a great prose writer. (shrink)

For half a century René Girard’s theories of mimetic desire and scapegoating have captivated the imagination of thinkers and doers in many fields as an incisive look into the human condition, particularly the roots of violence. In a 1993 interview with Rebecca Adams, he highlighted the positive dimensions of mimetic phenomena without expanding on what they might be. Now, two decades later, this groundbreaking book systematically explores the positive side of mimetic theory in the context of the multi-faceted world of (...) creativity. Several authors build on Adams’ insight that loving mimesis can be understood as desiring the subjectivity of the other, particularly when the other may be young or wounded. With highly nuanced arguments authors show how mimetic theory can be used to address child and adult development, including the growth of consciousness and a capacity to handle complexity. Mimetic theory is brought to bear on big questions about creativity in nature, evolutionary development, originality, and religious intrusion into politics. (shrink)

In the past few decades, neuroscience research has greatly expanded our understanding of how the human brain functions. In particular, we have begun to explore the basis of emotions, intelligence, and creativity. These brain functions also have been applied to various aspects of behavior, thought, and experience. We have also begun to develop an understanding of how the brain and mind work during aesthetic and religious experiences. Studies on these topics have included neuropsychological tests, physiological measures, and brain (...) imaging. These different techniques have enabled us to open up a window into the brain. It is by understanding the functioning of the creative brain that we begin to understand the concept of the creative mind. It is through the use of emotions and other higher cognitive functions that the brain and mind can create ideas, music, literature, and ultimately our entire repertoire of behaviors. How these different creative abilities are derived can also be traced to various parts of the brain and how they function. Modern neuroscience allows us to begin to understand the creative aspect of the brain and mind and perhaps can take us one step further toward understanding the most profound types of aesthetic and religious experiences. (shrink)

In the past few decades, neuroscience research has greatly expanded our understanding of how the human brain functions. In particular, we have begun to explore the basis of emotions, intelligence, and creativity. These brain functions also have been applied to various aspects of behavior, thought, and experience. We have also begun to develop an understanding of how the brain and mind work during aesthetic and religious experiences. Studies on these topics have included neuropsychological tests, physiological measures, and brain (...) imaging. These different techniques have enabled us to open up a window into the brain. It is by understanding the functioning of the creative brain that we begin to understand the concept of the creative mind. It is through the use of emotions and other higher cognitive functions that the brain and mind can create ideas, music, literature, and ultimately our entire repertoire of behaviors. How these different creative abilities are derived can also be traced to various parts of the brain and how they function. Modern neuroscience allows us to begin to understand the creative aspect of the brain and mind and perhaps can take us one step further toward understanding the most profound types of aesthetic and religious experiences. (shrink)

In the modern Middle East, the public institutions associated with the internationally recognized states of the region are rarely viewed as trustworthy or reliable. Born in the demise of the Ottoman Empire, midwifed by European imperial powers who paid lip service to the development of the inhabitants, and nurtured in the cold war by superpowers largely indifferent to the well-being of the peoples of the region, the existing states came to be associated with expectations of welfare provision and structures of (...) accountability that privileged external actors over local interests. In the absence of public institutions that responded to and represented local interests, people organized around those still vibrant alternative forms of community that existed – the exchange networks of informal economies or the kinship systems of extended families and the ethnic and religious communities of language, sect and confession – and sometimes they reorganized and reinterpreted these identities to supplement and ultimately supplant the failing states in which they found themselves. (shrink)

Whitehead and Dewey called for a deep reform of philosophy. Although they respected one another, Dewey can be read as criticizing Whitehead for his adherence to a traditional, and unfortunately conservative, way of conceiving of the discipline. This article provides an in-depth reconstruction as well as a qualified defense of Dewey’s charge.

Immanent creativity activates the concrescence of each actual occasion. Transcendent creativity lies beyond all occasions and is the sourceof their creativity. God, here conceived as purely temporal, is the subjectivity of transcendent creativity.

Recent research has shown a memory advantage for minimally counterintuitive concepts, over concepts that are either intuitive or maximally counterintuitive, although the general result is heavily affected by context. Items from one such study were given to subjects who were asked to create novel stories using at least three concepts from a list containing all three types. Results indicated a preference for using MCI items, and further disclosed two styles of usage, an accommodative style and an assimilative style. The results (...) extend recent memory research and suggest extensions to recent theories intended to explain the prevalence of counterintuitive religious concepts. (shrink)

Many readers of Process and Reality have felt the absence of a robust theory of efficient causation in Whitehead’s final position. There have been numerousremedies proposed, including Whitehead’s own , but all of them fail to make what to me is a crucial distinction between creative and noncreative forms of activity. The activity of the superject, the basis for causal activity, is derived from the creativity of concrescence, but is itself noncreative.It is simply the impress of the past, lacking (...) in itself any genuine novelty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity Belongs to the Person, not to DiseaseJuan J. López-Ibor Jr. (bio) and María-Inés López-Ibor (bio)Keywordscreativity, patho-biography, Saint Teresa, visionsIn the paper, “From the Visions of Saint Teresa of Jesus to the Voices of Schizophrenia,” Cangas, Sass, and Pérez-Álvarez (2008) take an original approach to patho-biography that is very welcome.The temptation to designate historical individuals or characters of fiction as suffering from mental disease has always produced disagreeable (...) feelings in me. This sort of abuse of psychiatry and of the people in question is parallel to the abuse by the media or lay citizens when they describe, say, an especially violent murderer as a schizophrenic—forgetting that the vast majority of people with schizophrenia are not in the least violent. Having read Santa Teresa’s writings during my adolescence, well before I even considered entering medicine, I reacted to comments about her alleged psychiatric illnesses with uneasiness, to put it mildly. The Santa Teresa of La Vida de la Santa Madre Teresa de Jesús (her autobiography), of the Camino de Perfección, and of the El Castillo Interior was surely not a mental patient, it seemed to me. The same would apply to San Juan de La Cruz, Jean D’Arc, Don Quijote, Sancho Panza, Edipus, and Clitemnestra, to mention a few. Even van Gogh’s paintings did not seem to me the productions of a patient with schizophrenia or epilepsy. Of course all of them may have suffered, at certain periods of life, symptoms attributable to a mental disorder, but their creativity rested elsewhere, and was often manifest during healthy periods of their lives. After years spent fighting the stigma of mental diseases, and after organizing several exhibitions of works of art of people with mental diseases, we came to the conclusion that creativity and singularity belong to the person, not to the illness. Some of the diseases of these individuals may have being accidents (van Gogh’s hallucinations and psychotic symptoms, for example, were most probably due to intoxications with absinthe, then rich in hallucinogenic alkaloids such as tujone), or, together with other life circumstances, may have had unspecific influences on the person’s condition. In contrast with many other psychiatric disorders that are represented in ancient Greek and Roman literature, there are no descriptions of individuals with schizophrenia in the Greek and Roman literature dating from the fifth century bc to the beginning of the second century Ad (Evans et al. 2003), and several authors have speculated that schizophrenia did not exist before the eighteenth century (Ellard 1987).Caution is important when dealing with mental health and religious issues in contrast with creativity. The creativity of people suffering from bipolar disorders is well recognized (Jamison 1993) and [End Page 277] the same applies to alcohol and drug intoxication. Tellenbach (1986) has also written on the creativity of depressed persons, although he refers more to the disposition of mood (Schwermut) than to clinical depression as such. The link between melancholia and genius put forward by Aristotle has often been misinterpreted. The philosopher was considering the melancholic temperament and not the melancholic illness as we would understand it today. Of the four temperaments, it is in his view only the melancholic that is gifted with creativity. The sanguine person seeks the immediate pleasures of life, the choleric one considers himself powerful and dedicates himself to manifesting this power, and the phlegmatic individual is disconnected from life and seeks to live without effort or pleasure. The melancholic temperament leads to creativity because of the predominance of doubt, reflection, and dissatisfaction with the miseries of life.Freud’s notion of religiosity as a collective obsessive neurosis is totally mistaken, in my view. The three main themes of obsessions are cleanliness, order, and guilt. In none of these cases is the theme the goal of the action; rather, it is a strategy to contain anxiety. As a consequence, patients with obsessions and compulsions about dirt and cleanliness tend to be dirty themselves, because the real purpose of their compulsions is not in fact to be clean but rather to satisfy a ritual. When order... (shrink)

One of the foremost religious and social philosophers of the twentieth century, Martin Buber also wrote extensively on sociological subjects, particularly as these affected his philosophical concerns. Collected here, these writings offer essential insights into the human condition as it is expressed in culture and society. Buber's central focus in his sociological work is the relation between social interaction, or intersubjectivity, and the process of human creativity. Specifically, Buber seeks to define the nature and conditions of creativity, (...) the conditions of authentic intersubjective social relations that nurture creativity in society and culture. He attempts to identify situations favorable to creativity that he believes exist to some extent in all cultures, though their fullest development occurs only rarely. Buber considers the combination of open dialogue between human and human and a dialogue between man and God to be necessary for the crystallization of the common discourse that is essential for holding a free, just, and open society together. Important for an understanding of Buber's thought, these writings—touching on education, religion, the state, and charismatic leadership—will be of profound value to students of sociology, philosophy, and religion. (shrink)

The current ecological and global crises call us to reexamine our understanding of ourselves, our relationships, and the world in which we live together as well as the values that shape and determine our mutual participation within this shared world process. This article engages the dynamic relationship between the thought and writings of C. G. Jung and A. N. Whitehead, two insightful contemplative visionaries, exploring the philosophical and spiritual vision that arises from this interaction, with special attention to the emergence (...) of principles and values that might serve as guides for reflection, evolution, and mutual understanding. (shrink)

The concept of positive liberty includes both the regulative autonomy to do what we will and the constitutive autonomy to become what we will. However, the latter represents the full meaning of the idea. Liberty in this meaning is a creative power: we are most free in the positive sense when we give our defining constitutive rules to ourselves. The original conceptual model for liberty as creativity did not belong to classical Greek tradition but came to us from Judaism. (...) The religious idea of spontane- ous, supra-natural, existential self-sufficiency provided the template for the idea of positive liberty, often described explicitly as a god-like power, by writers including Rousseau, Kant, Hegel and Marx. The value of creativity became secularized in modernity as a core belief in politics, morality and the arts. (shrink)

The history of mankind is a constant process of religious creativity. Here we are talking about religious movements that have arisen and evolve in the time of modern history. They can be divided into several large groups, categorizing their origin - neo-pagan, scholarly, neo-oriental, non-Christian, and neosatanic.

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.

This article focuses on a political use of resentment for establishing social order. Italian society is becoming more more competitive and individualistic, offering social actors many choices, but without promoting the conditions of equal opportunity necessary to fulfill their increasingly inflated desires. Social interactions come to be pervaded by frustration and resentment. In the modern era resentment was traditionally channelled against various scapegoats, both external—enemy nation-states—or internal: rival social classes; ethnic, religious, and cultural minorities. However, globalization and the declining (...) welfare state have deeply changed the modalities for the sublimation of resentment by intensifying its crushing effects. (shrink)

This first anthology of the most important writings by Danny Siegel, spanning and modernizing fifty years of his insights, Radiance intersperses soulful Jewish texts with innovative Mitzvah ideas to rouse individuals and communities to transform our lives, communities, and world.

How should philosophy approach religious experience, which by definition surpasses its competence? Can philosophy do more than describe the religious experience without discussing its object? Can religion make genuine truth claims - especially when the prevalence of suffering and evil in the world seems to belie those claims? These are some of the basic questions raised in this engaging collection of essays by philosopher Louis Dupre. According to Dupre, a philosophical analysis of faith must take account of the (...) unique system of symbols in which it expresses its beliefs, rituals, and modes of worship. The justification of religious symbols has become a particular problem in an age that tends to separate the objective from the subjective, interpreting the former literally and denying objective reality to the latter. Dupre's essays on von Balthasar's theory of religious form and on the nature of ritual attempt to restore the original meaning of religious symbols, while integrating them with the modern emphasis on human creativity. "As this slim but remarkable book of essays makes abundantly clear, its author bids fair to have an influence that will last into the next century, at the last: there is something about his philosophy that seems not just nourishing for a day or hour but perennially satisfying. " - Commonweal "Dupr writes with the clarity of an analytical philosopher about the issues of experience dear to phenomenologists and with a depth of historical understanding and sensitivity to the life of faith that is rare now in philosophy. In short, this book is that all too unusual phenomenon, religious philosophy. It is done very well, indeed." - Theology Today " This is a wise and thought-provoking collection." - Modern Theology. (shrink)