This paper explores a tension between Francis's openness to ‘liminality’ and certain papal statements condemning transness that reproduce the ways in which people are marginalised as trans. It seeks to make sense of these tensions, reading them back through Francis's theology of history, and suggesting a place for trans people to locate ourselves within the Church in spite of them. It argues that Francis's failings around transness can be viewed as ‘limitations’ to be overcome in a redemptive movement. It then (...) argues that Francis's theology of history is reflected in his ‘dialogical’ use of authority, which admits a space and role for us as pastorally accompanying the Church beyond these limitations. Finally, it argues that Francis's pastoral theology is founded on a theology of encounter which suggests that this process is an expression of divine love that draws people to God through a loving encounter with others. Trans people are thus called to put ourselves at the service of this love, and can take hope in its powers even amidst our own weakness. (shrink)

On spirituality as practiced and lived in India.

This paper anticipates a peril involved in Catholic writing on trans issues, which I call perlocutionary dominion: the empowerment of cisgender voices, and disempowerment of transgender voices within our theological communities through perlocutionary acts. It finds an example of this peril in Helen Watt's paper, ‘Gender Transition: The Moral Meaning of Bodily and Social Presentation’, focusing specifically on the use of negative themes; as well as the less obvious, positive-affective feature of gestures of care. It then looks to Pope Francis's (...) ‘four principles’ in Evangelii gaudium as the basis for a methodological principle that can help to avoid it. It argues that Francis's principles exhort us towards a project of community building that embraces alterity and invites critical engagement with our own convictions, while reflecting honestly on how our speech shapes that community in ways beyond their constative function. It concludes by suggesting the principle, ‘Everything About Us, For Us’, which encapsulates the kinds of behaviours required by this project. (shrink)

Life in a Himalayan hermitage, by L. Reymond.--Talks on sâmkhya, by Shrî Anirvân.--The Bâüls of Bengal, by Shrî Anirvân.--Mystic songs.

The Studies in Religious History and Philosophy cover the entire field of theology, especially the history of Christianity and the philosophy of religion.

v. 1. La pensée et l'être. Vérité et activité de juger. Philosophie et religion. Philosophie et sciences. Questions historiques.--v. 2. Instruction et éducation. Le civisme suisse, sa nature et son idéal. Philosophie chrétienne.

Segundo uma célebre tese defendida por Philip Pettit, um agente é livre conquanto cada uma de suas ações seja não somente acessível, mas também não-dominada, no sentido de que ninguém tenha o poder de bloquear o acesso a tais ações. Através de contraexemplos, esse artigo procura demonstrar que a vontade de eliminar a dominação pode diminuir antes que reforçar a liberdade individual.

Über die Grenzen des Naturerkennens ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1872. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres.Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur.Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitäten erhältlich. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch für die Zukunft bei.

Frágil é, segundo Alexis de Tocqueville, o equilíbrio em que se encontra a liberdade em um estado social de igualdade de condições. Tomados pela sua maior paixão, a da igualdade, os homens democráticos podem assistir a conversão da liberdade em despotismo ao se entregarem à busca exclusiva de seus interesses e bens privados, ao abdicarem da faculdade de julgar, deixandose guiar servilmente pela opinião da maioria, a fonte da autoridade em tal estado social. Em face disso, este artigo sustenta que, (...) ao discorrer acerca dos costumes estadunidenses, n'A Democracia na América, o autor não faz mera descrição mas delineia uma teoria social, a doutrina do interesse bem compreendido, a qual relacionaria, na república americana, a virtude e o interesse, e poderia fornecer elementos para instruir as sociedades democráticas. (shrink)

The chance discovery in 1991 close to the fortress of Hollm (SE Albania) of a coin hoard consisting almost exclusively of silver Aiginetic staters, contained in a bronze oinochoe of Rhodian type, pro vides an opportunity to examine our present state of knowledge about the issues of Aiginetic "tortoises" struck between ca 520 and ca 300 B. C. The 394 staters in the hoard attest for the first time the penetration of Aiginetic coinage in Illyria. To judge from its composition (...) the hoard must have been hidden in the years around 420. A possible explanation for its unusual presence in Albania could be the diaspora of the Aiginetans after 432, when a group of those expelled took part in the foundation of Damastion (Strabo, VIII 6,16). (shrink)

Les lignes 72-74 de la lex portorii Asiae découverte à Éphèse mentionnent, d'après les éditeurs H. Engelmann et D. Knibbe, les dîmes et la scriptura (impôt sur les pâturages), les premières pour en régler la perception, la seconde pour dispenser de droits de douane les troupeaux en transhumance d'été. Il s'agit en fait de fausses lectures : à la 1. 74, il faut lire (au lieu de μετακομιδηι τη ήλιαρίφ) : ή 8ι' αυτό. D'autre part il n'y a pas deux (...) phrases concernant deux sujets différents, mais une seule, à lire continûment. Ce sont les produits des dîmes qui, dans certaines circonstances, et à certaines conditions, sont dispensés de payer la douane. On suggère qu'il était question 1. 73, dans la lacune, des «droits de garde» (custodia, φυλακείον) dans les entrepôts de la douane. (shrink)

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, (...) it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time and expertise, two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception ]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects, however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. (shrink)