Cet article avance l’idée selon laquelle l’humanisme schillérien doit se comprendre dans la tradition de l’anthropologie philosophique de la Karlschule. À partir d’un examen du kantisme de Schiller et en s’intéressant aux concepts d’humanisme religieux, d’autonomie, de providence, d’immanence et de transcendance, on en vient à la conclusion générale que Schiller fut un des premiers humanistes de la tradition allemande à affranchir l’éthique de la religion. À cet égard, Schiller peut être considéré comme le précurseur de penseurs radicaux venus (...) après lui tels que David Friedrich Strauβ, Ludwig Feuerbach ou Friedrich Nietzsche. (shrink)

In June 2015, the Supreme Court of Canada struck down the Criminal Code's prohibition on assisted death. Just over a year later, the federal government crafted legislation to entrench medical assistance in dying (MAiD), the term used in Canada in place of physician‐assisted death. Notably, Canada became the first country to allow nurse practitioners to act as assessors and providers, a result of a strong lobby by the Canadian Nurses Association. However, a legislated approach to assisted death has proven challenging (...) in a number of areas. Although it facilitates a degree of accountability, precision and accessibility, it has also resulted in particular challenges negotiating the diverse perspectives of such a morally contentious act. One of these challenges is the tendency to conflate what is legal and what is moral in a modern liberal constitutionalism that places supreme value on autonomy and choice. Such a conflation tends to render invisible the legal and moral/ethical considerations necessary for nurses and nurse practitioners to remain ethical actors. In this paper, we introduce this conflation and then discuss the process of lawmaking in Canada, including the legalization of MAiD and the contributions of nursing to that legalization. We then engage in a hypothetical dialogue about the legal and moral/ethical implications of MAiD for nursing in Canada. We conclude with an appeal for morally sustainable workspaces that, when implementing MAiD, appropriately balance patient choices and nurses’ moral well‐being. (shrink)

The terms immanence and transcendence have played a significant role in philosophical thought since its inception. Implicit in the notions of immanence and transcendence, as typified within the history of ideas, is often a separation and division between the human and the godly. This division has served to generate ontologies of isolation and set up epistemologies that can be both binary and divided. The terms immanence and transcendence thus sit at the heart of contemporary onto-epistemic accounts of the world. As (...) such, in seeking to examine the nature of what is, this paper traces a line through the history of ideas in an attempt to clarify the connections and dissonances in the notions of immanence and transcendence. This is done for the purpose of demonstrating what philosophical and religious accounts may offer in attempting to create a sound account of the godly and thus the world in a secular age. (shrink)

Is there a language of transcendence which does not fall under the well-worn categories of monism, theism, pantheism, biblical or pagan monotheism, personal or tripersonal God, or an impersonal absolute, conceived as immanent and/or transcendent? The present set of studies from different fields of research centers on the question whether it is possible to speak at all of transcendence or a divinity, and if it is, under what limitations does such speech proceed. In current discussion in theology and in philosophy (...) of religion, there is a pervasive awareness that the inherited terms and alternatives, developed in the western tradition, no longer facilitate an adequate understanding of the divine. Increasing familiarity with the languages of 'immanence' and 'transcendence' (under erasure) in Hindu and Buddhist thought has further jumbled our coordinates, while holding out the promise of a more subtle and vital engagement with the matter itself of religious inquiry. A further long-established distinction, between 'personal' and 'impersonal, ' also takes on rich new hues in Asian contexts, where the very notion of 'person' may undergo unsettling critiques. Transgressing the categories of 'personal' and 'impersonal' points to the mystical depth of religious traditions, emphasizes their openness and reintegrates essential elements of both perspectives. Advancing with curiosity and caution, all the contributors take seriously the diversity of historical religious traditions, while nevertheless searching for a fresh language that may connect these traditions and provide a common ground of understanding. (shrink)

We live in an era of global anxiety - about rising nationalism, civil and human rights struggles, the ramifications of declining white male hegemony, about driving ourselves and other species toward extinction. So it's no surprise that we also seek transcendence of our material circumstances. But exploring the possibilities of transcendence of our materiality, through religion, philosophy, psychology, and in literature, is not a new feature of thought, art, or action. This book explores approaches to the immanence-transcendence problem in works (...) of French, German, Italian, and Russian literature and philosophy between 1762 and 2016, in an effort to understand how different thinkers have approached this dynamic. This book is divided into four "suppression" approaches and four "infliction" approaches, sometimes combining sympathetic source material from different centuries and countries that take complementary stances. While this book takes a skeptical approach as to whether a person can experience sensory comprehension of transcendence of his or her own embodiment, we are clearly in need of literature that provides guidance for our current sociological and psychological circumstances in an effort to help us navigate our global future. (shrink)

People's desire not to limit the meaning of Hancang driving force, continuous development and self-transcendence, which is people from within and beyond the root driving force. The so-called "inner beyond" is not a process of idealism, which began with the desire, from the bottom of the body, and go up on the layer by layer through the heart of the development process裡and mental flexibility, and would therefore have to enhance and transform. We regard the body as I desire the presence (...) of mode. Significance by the driving force in the body and thus close to the appearance, at first non-verbal, and then eventually completed in the language of representation. Through a variety of different non-linguistic representation, the meaning of the body of the driving force to obtain specific and differentiation, as music, art, dance, drama art form ... ... and so on. These different forms of art of common origins, is made ​​to understand the forms of physical exercise, as they are each other's differences, then is made ​​to understand the form of different, such as voice, image, attitude ... ... and so the nature and rules lawyers, and the rise because of their differences on the artistic and cultural expressions of different, and even the formation of the various arts precinct. In order to film art integrated voice, image and body movement, presented at the time of the current moving image, to the above description of the story. Different types of art is "the desire of the induced mover", which provides clear instructions and guidance In order to man the desire for meaning. The meaning of desire is the driving force of development of art in different fields to cross-border basic driving force. Story has entered into a description of the classification of the appearance of language, its basic features is metaphorical. Cross-disciplinary domain of the past will pin their hopes on the concepts and logical reasoning and arguments permit. Today, the language of metaphor for understanding the nature, making metaphor and narrative clues as cross-domain, and in the humanities, social sciences, natural sciences and even among. The reason why life events, actions and circumstances can be constructed to the story, because there I am with the interaction between multiple otherness, its impetus came from one continuous extrapolation, and extrapolation of each other. And diversity of his stories were always the people the story, and always coming to the multivariate description of those who hear him. Through stories, we witness In order to the meaning of life, but always to witness the way metaphor and description of each story to each other through mutual enrichment. Description of the future, after all, the story, no matter real or imagined, there is established based on the relationship regardless of which I was with him who have the freedom in the relationship, a relationship in freedom. It is also across the world who can not break the fundamental driving force and field-based. This paper assumes that there is an undetermined dynamic energy for meaningfulness in human desire, which develops and transcends any particular realization. This is the original energy by which human beings could attain transcendence by way of immanence, which is not an idealist process, but rather originated from a body-based desire that develops upwards and fuller to integrate the mental and the spiritual. Representability, first non-linguistic and then linguistic, is the access to meaning for our desire that takes body as its mode of existence. Through different forms of representation, such as sounds, pictures and gestures ... etc., the project of meaning is specified. The movement of body in intelligible forms is the common origin of music, dancing and performative arts. Cultural difference and artistic boundaries are based upon differences in the nature and rule of these intelligible forms. The art of filming, which synthesizes image, music and body movement in presenting images moving in time so as to tell stories of various kinds. All forms of art are "inducers of desire" by articulating, determining and guiding our desire for meaning. This dynamic development of our desire for meaning is the common basic energy by which we can cross the borders of different arts. Story-telling presupposes linguistic representation accessible to our meaning dynamism. In the past, concepts and logical reasoning and argumentation were taken to be the hope for interdisciplinary research. But now, with the better understanding we have of the metaphoric nature of language, metaphors and narratives are taken to be the clue for a cross-bordering effort in different sciences, human , social and natural. If there are events, actions and plots in human existence to be constructed as stories, it is because there is always interaction with multiple others, the dynamism of it consisting in our incessant act of strangification and mutual strangification. Stories are always stories about one self with multiple others and told to multiple others. By telling stories, we witness a particular way of meaningful life, always metaphorically interpreted. We achieve mutual enrichment by telling stories to each other. The ultimate foundation of cross-bordering in arts and scientific disciplines consists in the ontology of dynamic relation, in which there is relatedness in freedom and freedom in being related, and this is the ground on which all our life stories, both real and imaginative, are based. (shrink)

This intervention aims to question the opposition between a ‘politics of immanence’ and a ‘politics of transcendence’ through a critical assessment of some contemporary philosophical approaches to politics and a reappraisal of Mario Tronti’s account of the autonomy of the political. I shall argue that the contrast between immanence and transcendence is ultimately politically disabling, as it fails to provide an adequate position from which to situate a political thinking and practice.

Is God dead? -- The western split : transcendent, deity, desacralised nature -- The western split : God's otherness, humanity's degradation -- The western split : gender discrimination, its origins, and its consequences -- Energy and divinity -- Divinity within -- The Christian doctrine of incarnation : restricted immanence -- Incarnation and atonement mythology -- Creativity, divine, and human -- Divinity and ethics -- Religion and science -- The problem of evil : providence -- Death and beyond.

This is an engaging book on a subject which most people in our culture assume went out of fashion long ago. The book had its genesis in one of a series of symposia convened by the Church Society for College Work of Cambridge to explore certain themes and ideas which have great import for our time. The various authors of the essays eschew the habit of viewing Transcendence as the traditional content of metaphysical arguments or revelatory statements about the nature (...) of God outside or independent of the world and seek for signs of the possibility of achieving a renewed sense of Transcendence in the domains of inner experience, history, culture, language, science, technology, and the arts. Huston Smith suggests two options of human fulfillment: psychological and ontological, both providing a kind of transcendence of self and society. He refuses to accept one and reject the other but instead to convince us that both are legitimate. M. Murphy claims that the experience of psychological and social transcendence can be fostered by educational projects such as encounter groups, gestalt therapy workshops and sensitivity training programs. In his "Manifesto for a Dionysian Theology," Sam Keen analyzes the Apollonian way of reasoning and planning which has come to dominate in Western culture and makes a plea for a reassertion of the Dionysian principle in religion which might be expressive of life as dance, centrality of feelings and sensations, a pantheistic conception of God and a theology of play. Harvey Cox asserts that our society has lost its capacity for utopian fantasy resulting in the inability to conceive of any world which is not a mere modification or extension of our own world. He suggests that we consciously become "fools for Christ" again and give full rein to our powers of creative fantasizing even at the risk of contracting "religious madness." Donald Schon urges post-modern man to give up hope for achieving a stable political order and to develop an "ethic for change" appropriate to the demands of our society where change is all-pervasive. Essays by R. Bellah and H. Richardson explore myths of transcendence as ordering structures in society and plead for increased attention to correspondences among the disciplines of theology, sociology, and psychology. E. Fackenheim and W. Kaufman seek to clarify the notion of transcendence in Judaism and Christianity respectively and to "clear the way for a positive revelation." In keeping with the shared notion that transcendent reality is present and active within the human process, two eminent process philosophers, Wieman and Hartshorne discuss the "implications for a concept of transcendence that follows from affirming the creative freedom of man." The essays singly and together reject the notion that the existence and nature of transcendent reality can be arrived at by pursuing a single line of argumentation to its bitter end and instead they work together from various points of view to reinforce our sense of man's renewed thirst for the Divine and the subsequent rediscovery of God's uninterrupted presence within the world of "Immanent Possibility."--J. B. L. (shrink)

En 1986, H.T. Engelhardt justifiait l'autonomie de la bioéthique à l'égard des éthiques religieuses en partant du fait que les hommes de notre temps sont « moralement des étrangers », les uns pour les autres. En 1991, il entreprit de mieux discerner les relations entre éthiques séculière et religieuse, en gardant la même orientation de pensée, mais en s'attaquant à l'idéologie d'un humanisme athée. Il cherche à établir sur les bases d'une rationalité universelle un « cadre de référence neutre », (...) commun à l'ensemble des partenaires du débat éthique contemporain, mais qui laisserait la place à une pluralité de visions philosophiques, religieuses et morales. Car ce serait ruiner toute éthique que de vouloir fonder la bioéthique sur le seul recours au consentement libre et éclairé du malade et sur le respect de son autonomie, à l'exclusion de toute recherche de « buts transcendants ». – La pensée d'Engelhardt n'est pas exempte d'ambiguïtés sinon de contradictions : il ne dit pas comment son humanisme séculier donnera satisfaction aux partisans des éthiques religieuses ni quel sera le statut institutionnel de ce cadre de référence commun ni quelle issue il propose entre le nihilisme et le relativisme moral ni sur quelle base pourrait se faire une hiérarchisation des valeurs dans une bioéthique séculière. Sa pensée devrait se prolonger en direction des droits de l'homme, mieux distinguer entre principes premiers et principes dérivés, creuser davantage le concept de subjectivité.In 1986 H. T Engelhardt justified the autonomy of bioethics as regards religious ethics by starting with the fact that people in our day are “moral strangers” in regard to each other. In 1991 he studied further the relations between secular and religious ethics while keeping the same line of thougbt, but in attacking the ideology of atheistic humanism. He is trying to establish, on the basis of a universal rationality, a “neutral framework “ that would be shared by all those debating contemporaneous ethics. It would leave room for a plurality of philosophical, religious, and moral visions, For it would destroy all ethics if one wished to base bioethics only on trying to get a free and enlightened agreement from the patient and on the respect of his autonomy, in exclusion of every search.for « transcendental ends ». The thougbt of Engelhardt is not free from ambiguities, if not contradictions: he doesn't say how his secular humanism will give satisfaction to the supporters of religious ethics; nor what the institutional status of tbis common framework would be; nor what he proposes as the way out between nihilism and moral relativism; nor on what basis a hierarchy of values could be created in secular bioethics. His ideas call for further reflection : found etbics on the rights of man; distinguish more clearly between first principles and principles that are derived ; and dig deeper into the concept of subjectivity. (shrink)

Résumé En liant le mal et l’incompréhension, l’identité du sujet et l’éthique, nous voulons montrer les limites de l’autonomie pure. L’humain baigne dans des influences extérieures de sorte qu’il est toujours pris dans un dialogue soit transcendant, soit immanent ou encore extérieur. L’humain est l’être qui est témoin de ces forces. Il est un être attentif, un être ouvert à l’altérité, un être à l’écoute de ce qui le porte : la créativité.By linking evil and misunderstanding, the identity of the (...) subject and ethics, we intend to bring out the limits of pure autonomy. Human beings are affected by external influences on all sides, so much so that they are invariably involved in dialogues which are either transcendent, internal or external. Humans are aware of those forces. They are awake, open to otherness, all attentive to what carries them through : creativity. (shrink)

The idea of immanent transcendence is constitutive for Winch's philosophy of religion and his ethics. Winch's philosophy of religion insists on the ‘immanent’ dimension of religion. His ethics insists on the ‘transcendent’ dimension of ethics. In this sense, both religion and ethics embody a perspective ‘beyond’ this world and yet must have practical consequences in this world. Transcendence without immanence is idle, and immanence without transcendence is empty—this is the kernel of Winch's philosophy of religion and of his ethics.

This paper examines the meaning and importance of the concept of immanent-transcendence in Mou’s assertion that Chinese philosophy is unique and superior, through his engagement with the philosophy of Immanuel Kant and his comparisons of Chinese and Western philosophical traditions. Rejecting Kant’s “epistemological path” as deficient, Mou argues that knowledge of the transcendent is possible through moral practice, as demonstrated by the Confucian tradition. His merging of immanence and transcendence implies a different relation between ethics and religion compared with the (...) way Kant himself conceived that relation. Despite the emphasis on practice in his understanding of Confucian spirituality, Mou’s approach is significantly different from a Dewey inspired Pragmatist approach to claims about transcendence. The paper contextualizes the theoretical choices in the development of Mou’s philosophy within China’s historical encounter with Dewey’s Pragmatism, and Mou’s own perception of his mission in a period of cultural crisis. (shrink)

My aim is to defend Winch's view that morality must be autonomous from religion. I defend him from Mounce's criticism, who claims that unless morality is supported by divine law, moral relativism cannot be avoided. Winch considers the Samaritan's behaviour and says (i) that the background of divine law is irrelevant to the parable; (ii) that we do not need divine law to understand the Samaritan's impossibility to ignore the victim; (iii) and that the absolute moral ought requires no external (...) support provided by religion. Winch adds that God cannot make any moral demand on humans, and thus He cannot reward them with salvation or punish them, without turning Himself into a means of moral corruption. All this spells the end of religion at least as far as the relation between God and man's moral and spiritual life is concerned; while relativism is shown to be morally corrupt and internally inconsistent. (shrink)

This paper engages Alex Dubilet’s _The Self-Emptying Subject: Kenosis and Immanence, Medieval to Modern_ and his account of immanence and kenosis as exhibited in his reading of Hegel’s concept of _Entäußerung_ [externalization]. Specifically, I focus on the “problematic of desubjectivation” that centers Dubilet’s critique of transcendence and its relationship to subjection and subjectivity. I reconsider the relationship made between this problematic, the ethics of kenosis, and the concept of immanence so as to demonstrate the ways in which Dubilet attempts to (...) depart from transcendence, subjectivity, and their concomitant ethics. In particular, I consider his reading of Hegel’s concept of _Entäußerung_ and its similarities to the Young Hegelians’ understanding of this concept. My reading of Dubilet suggests that while he seeks to depart from transcendence, he reintroduces transcendence through the “problematic of desubjectivation” and its relationship to kenosis. In conclusion, I question the philosophical import of immanence in contemporary critical inquiry and why its conceptualization is often positioned in opposition to transcendence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Love of Country and Love of God: The Political Uses of Religion in MachiavelliBenedetto Fontana*This paper will discuss the place of religion in Machiavelli’s thought. 1 The traditional and generally accepted interpretation presents Machiavelli’s religion as a belief system whose value is determined by its functional utility to the state. In this he is said to resemble Cicero, 2 Montesquieu, 3 and Tocqueville, 4 among others. This view is (...) based on the proposition—one that is now fundamental to a modern understanding of Machiavelli—that his political theory develops a politics without moral, theological, and religious foundations (what Benedetto Croce 5 calls the “autonomy of politics” and Sheldon Wolin 6 the “autonomy of political theory”). Students of Machiavelli who ascribe to him an instrumentalist theory of religion rest their interpretation on this conception of politics: a distinction is established between religion viewed as religio, and religion conceived as fides, where the former is used to develop and cement social bonds and the latter is a faith based on a transcendent “truth.”A reading of the texts shows that Machiavelli discusses various kinds of religion. He refers, for example, to multiple forms of Christianity, such as “primitive” [End Page 639] or original Christianity, 7 official, medieval Christianity, the ecclesiastical principality of the papacy, as well as to ancient Judaism, 8 paganism, and to Islam. 9 However, it is possible to discern in Machiavelli two principal or distinctive types. One is based on the opposition Machiavelli sees between the religion of the Romans (which instills virtù) and the religion of the post-classical and post-Roman Christian world (which teaches humility and passivity). The other is prophetic religion, in which Machiavelli contrasts the prophet armed to the prophet unarmed. Thus, we have prophetic religion and non-prophetic religion; the former is either armed or unarmed, and the latter is either immanent (natural) or transcendent. 10Machiavelli’s stress on the importance of virtù (whether of the prince or of the people) suggests that religion is not simply religio—that is, a political technique to rule and to control the masses. Rather, it presupposes a concern for a moral fides which, though certainly not transcendent, is nevertheless necessary to the construction of a political order based on virtù. His concern with civil and military virtue links the armed prophetic religion with that of the ancient Romans, such that ancient Judaism, Islam, and a reformed Christianity (a kind of Lutheranism ante litteram) all stand opposed to primitive and post-classical Christianity.Machiavelli anticipates in theory the national, anti-papal, and anti-imperial movements that were later realized in history by the Lutheran and Calvinist Reformations. He attempts to infuse the corrupt and decadent Christian conception of the world with a new, innovating spirit, one opposed to the prevailing medieval and scholastic conception of the world. In the past Christian philosophers and thinkers revised the classical notions of virtus and arete, transforming them into Christian concepts of value. Machiavelli attempts a similar “transvaluation of values” (Nietzsche), but for different ends and in a different direction: he reinterprets the Christian religion in order to assimilate it into his conception of virtù and his vision of a vivere civile.In the first part of this paper the relation Machiavelli establishes between “speaking with God” and the founding and/or reforming of states is explored. Parallels between Christian and pre-Christian (pagan and biblical) rulers reveal a basic ambiguity in Machiavelli’s belief that religion—that is, the claim of having spoken with God—is necessary to effective rule. In the second part [End Page 640] Machiavelli’s teaching (“new ways and methods”) is compared to Christ’s message of the “good news.” The contrast between the two is presented in terms of an opposition between different “ways of living,” each with its specific moral claims and political consequences. The opposition is not, the section argues, between logos and kratos, ethos and kratos, but rather between diverse ways of understanding logos and ethos. The final section argues that Machiavelli uses biblical, pagan, and Christian forms of religious symbols and metaphors in order to reevaluate the concepts of patria and amore. In so doing... (shrink)

Katherine Sarah Moody and Steven Shakespeare begin this collection of essays, produced from the inaugural conference of the Association for Continental Philosophy of Religion (Liverpool Hope University, 2009), by reflecting on life’s ‘haunting’ of philosophy. Life’s dynamism—constantly shifting, fluctuating, hesitating and pushing forward, stretching between birth and death in anything but a safely predictable manner—has always been problematic for philosophy, resisting categorisation and explanation. They present life as an ongoing hermeneutical negotiation, wherein ‘lies the possibility of affirmation’ (p. 1). However, (...) from which standpoint should we affirm life? Immanence or transcendence? Or, with Derrida, should we foster a notion of survival that confounds this dualistic separation (p. 2)?Starting with Kant and Hegel, the editors provide a contextual background and discuss the problems of separating organic life from inorganic nature and the organic human body from unifying super. (shrink)

How to theorise religion in International Relations (IR)? Does the concept of post-secularity advance the debate on religion beyond the ‘return of religion’ and the crisis of secular reason? This article argues that the post-secular remains trapped in the logic of secularism. First, a new account is provided of the ‘secularist bias’ that characterises mainstream IR theory: (a) defining religion in either essentialist or epiphenomenal terms; (b) positing a series of ‘antagonistic binary opposites’ such as the secular versus the religious; (...) (c) de-sacralising and re-sacralising the public square. The article then analyses post-secularity, showing that it subordinates faith under secular reason and sacralises the ‘other’ by elevating difference into the sole transcendental term. Theorists of the post-secular such as Jürgen Habermas or William Connolly also equate secular modernity with metaphysical universalism, which they seek to replace with post-metaphysical pluralism. In contrast, the alternative that this article outlines is an international theory that develops the Christian realism of the English School in the direction of a metaphysical-political realism. Such a realism binds together reason with faith and envisions a ‘corporate’ association of peoples and nations beyond the secularist settlement of Westphalia that is centred on national states and transnational markets. By linking immanent values to transcendent principles, this approach can rethink religion in international affairs and help revive grand theory in IR. (shrink)

It is argued in this paper that recent work on immanence and transcendence in Whitehead scholarship, notably by Basile and Nobo, provides helpful guidelines and ideas for work on problems regarding immanence in Deleuze's philosophy. By following arguments on theism and naturalism in the reception of Whitehead, it argues that Deleuze's philosophy depends on reciprocal relations between that actual and the virtual such that they cannot be considered as separate without also being incomplete. It is then shown that Deleuze's philosophy (...) allows for metaphysical terms such as ‘pure’ without having to concede a separate and self-sufficient pure realm. (shrink)

In performing an act of assertion we are sometimes responsible for more than the content of the literal meaning of the words we have used, sometimes less. A recently popular research program seeks to explain certain of the commitments we make in speech in terms of responsiveness to the conversational subject matter. We raise some issues for this view with the aim of providing a more general account of linguistic commitment: one that is grounded in a more general action‐theoretic notion (...) of responsibility. (shrink)

This book presents detailed discussions from leading intercultural philosophers, arguing for and against the priority of immanence in Chinese thought and the validity of Western interpretations that attempt to import conceptions of transcendence. The authors pay close attention to contemporary debates generated from critical analysis of transcendence and immanence, including discussions of apophasis, critical theory, post-secular conceptions of society, phenomenological approaches to transcendence, possible-world models, and questions of practice and application. This book aims to explore alternative conceptions of transcendence that (...) either call the tradition in the West into question, or discover from within Western metaphysics a thoroughly dialectical way of thinking about immanence and transcendence. (shrink)

The following argument is widely assumed to be invalid: there is a pain in my finger; my finger is in my mouth; therefore, there is a pain in my mouth. The apparent invalidity of this argument has recently been used to motivate the conclusion that pains are not spatial entities. We argue that this is a mistake. We do so by drawing attention to the metaphysics of pains and holes and provide a framework for their location which both vindicates the (...) argument's validity and explains why it appears invalid. To this end, we show that previously proposed explanations for the apparent invalidity of the argument fail. Moreover, we show that our account accommodates and explains seemingly opposing linguistic data. We conclude that the ‘pain-in-mouth argument’ does not undermine the view that pains are spatial entities. (shrink)

Phenomenology, understood as a philosophy of immanence, has had an ambiguous, uneasy relationship with transcendence, with the wholly other, with the numinous. If phenomenology restricts its evidence to givenness and to what has phenomenality, what becomes of that which is withheld or cannot in principle come to givenness? In this paper I examine attempts to acknowledge the transcendent in the writings of two phenomenologists, Edmund Husserl and Edith Stein (who attempted to fuse phenomenology with Neo-Thomism), and also consider the influence (...) of the existentialist Karl Jaspers, who made transcendence an explicit theme of his writing. I argue that Husserl does recognize the essential experience of transcendence within immanence; even the idea of a physical thinghas “dimensions of infinity” included within it. Similarly, he asserts profoundly that every “outside” is what it is only as understood from the inside. Jaspers toomakes the experience of transcendence central to human existence; it is the very measure of my own depth. For Edith Stein, everything temporal points towardthe timeless structural ground which makes it what it is. Transcendence is an intrinsic part of being itself. Furthermore, the very lack of self-sufficiency of my own self shows that the self requires a ground outside itself, in the transcendent. There is strong convergence between the three thinkers studied on the concept of transcendence, which is indeed a central, if largely unacknowledged, concept in phenomenology both in Husserl and his followers (Stein), but also, throughJaspers, in Heidegger. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

This is a fairly detailed philosophical and theological attempt to defend Kant's position that faith must be interpreted through pure practical reason if it is to remain a free and moral one. One of its primary aims is to demonstrate the intrinsic connections existing between Kant's critical ethics and his philosophy of religion. The main texts analyzed are the Foundations, the second Critique, and the Religion. ;The first and second chapters of the dissertation are intended to show that if an (...) individual is to possess a good will, she must first of all rationally understand in what it is that goodness consists, and second, she must do the good because she understands it to be such. I discuss the connections between Kant's understanding of a categorical imperative and autonomy, and use the conclusions to demonstrate the impossibility of a theological foundation for ethics. ;The third chapter shows that since only a categorical imperative can provide a universally valid concept of the good, such an imperative is a precondition of our ability to transcend our subjective desires and to value that which is objectively good. The unconditioned moral law, confronting us absolutely and without regard to subjective incentives, grounds the possibility of self-transcendence and of a real communication between all rational wills. ;Chapters four and five contain a critical account of Kant's understanding of the highest good and the conditions requisite for its attainment. Kant's rational understanding of the Christian faith is discussed as the result of a moral existential posture already adopted: it is a faith descriptive of the journey towards holiness, through which the propensity to value merely subjective inclinations over the objective good is eradicated, thereby making transcendence of the self possible. The historical revelation given in the person of Jesus Christ is interpreted in terms of the self-transcendence made possible by the universal moral law witnessing to God's care for all his sons and daughters. This unconditioned law is understood as the call to grace witnessing to God's grace, through which the positive revelation given in the person of Christ must be understood. (shrink)

As part of an effort to look at for bioethicists interested in clinical decisionmaking, Erik Parens, the editor of this special section, asked us to look at social class. When we began our research for this paper, we were surprised to find that although bioethicists have written much on social class and such macrolevel issues as access to healthcare and the distribution of scarce resources, and have paid some attention to the effects of class on patient-provider relationships, bioethicists have written (...) little specifically that looks at the implications of social class for medical decisions in individual cases. (shrink)

This essay provides a systematic as well as chronological account of Schiller's concepts of freedom and autonomy. Its main thesis is that the duality of Schiller's moral/aesthetic ideal in the Letters on the Aesthetic Education of Man - of beauty and the sublime, of play and the moral law - is a result of his use of conflicting concepts of autonomy. While it is widely accepted that Schiller took over Kant's concept of autonomy, I argue that he simultaneously employed another (...) concept of autonomy, that of the contemporary philosopher Karl Leonhard Reinhold, whose criticism of Kant's concept of free will and alternative formulation of the concept of a neutral will influenced Schiller. (shrink)

Negotiating the relation between divine transcendence and divine immanence lies at the heart of Maimonides' Guide of the Perplexed and of Kierkegaard's philosophical works. The purpose of the paper is to explore the manners in which they do so. I argue that despite various differences between them, both engage with the tension between divine transcendence and immanence by turning away from objectivity to subjectivity and, moreover, by placing paradox, riddle and secret at the heart of their philosophical works. In other (...) words, I argue that they do not attempt to solve or dissolve the great paradox of God's immanent transcendence but to present it in its most acute forms as the paradox within which the religious life is lived. (shrink)

Death and dying are natural phenomena embedded within complex political, cultural and social systems. Nurses often practice at the forefront of this process and have a fundamental role in caring for both patients and those close to them during the process of dying and following death. While nursing has a rich tradition in advancing the palliative and end‐of‐life care movement, new modes of care for patients with serious and irremediable medical conditions arise when assisted death is legalized in a particular (...) jurisdiction. In early 2015, the Supreme Court of Canada released its landmark decision Carter v. Canada (Attorney General) (‘Carter’), which legalized physician‐assisted suicide in particular clinical situations. The new law provided the broad national framework for Medical Assistance in Dying (MAiD) in Canada but, once the law was passed, provincial and territorial governments and health professional regulatory bodies each had to undertake a process of developing policies, procedures and processes to guide MAiD‐related practice specific to their jurisdiction. In this paper, we begin to examine the political ramifications and professional tensions arising from MAiD for nurses and nursing, focusing specifically upon the impacts for registered nurses. We identify how variations in the provincial and territorial literature and regulatory guidelines across Canada have given rise to role confusion and uncertainty among some registered nurses and how this may potentially impact patient care. We then continue to highlight the need for greater political activism among nurses to foster greater clarity in nursing roles in MAiD and to advocate for improved supports for patients and those close to them. (shrink)

The following is an attempt at an analysis of some of the difficulties of a certain religious or metaphysical attitude which, common as it has been to many ages, and familiar as we are with it in what we know of the early Greek thinkers and the Sophists, may yet, in the status of settled and almost universally accepted dogma which it has assumed, be said to be the peculiar inheritance of our own generation. We meet it in formal philosophic (...) garb in Alexander’s Space, Time and Deity and in Croce's idealism; with scientific claims it confronts us in Smuts’s Holism ; with more emphasis but less exactness it speaks in J. S. Huxley’s Religion without Revelation and in Middleton Murry's God, Being an Introduction to the Science of Metabiology; in imaginative literature it has found its ample "iconography" in Shaw's Back to Methuselah; best of all, strong and silent, unquestioned and unexplaining, like any master secure of his position, we may find it enthroned each in his own mind. Though here referred to as a religious attitude, we may also call it antireligionor the religion of the professedly anti-religious, and its God the God of the "Godless.". (shrink)

In the last four decades there has been a great deal of work done on German idealism in all fields of humanistic study, including theology and the philosophy of religion, devoted particularly to the philosophies of Kant and Hegel. A great deal less has been done of the British idealist school, often because they are regarded as slavish imitators of Kant or Hegel. Such a judgment is though misplaced. There is a rich and independent vein of idealist philosophical and theological (...) speculation in Britain, in the late nineteenth and early twentieth century, which is not often studied in any great depth or mentioned except in passing. (shrink)

In the last four decades there has been a great deal of work done on German idealism in all fields of humanistic study, including theology and the philosophy of religion, devoted particularly to the philosophies of Kant and Hegel. A great deal less has been done of the British idealist school, often because they are regarded as slavish imitators of Kant or Hegel. Such a judgment is though misplaced. There is a rich and independent vein of idealist philosophical and theological (...) speculation in Britain, in the late nineteenth and early twentieth century, which is not often studied in any great depth or mentioned except in passing. (shrink)

In the last four decades there has been a great deal of work done on German idealism in all fields of humanistic study, including theology and the philosophy of religion, devoted particularly to the philosophies of Kant and Hegel. A great deal less has been done of the British idealist school, often because they are regarded as slavish imitators of Kant or Hegel. Such a judgment is though misplaced. There is a rich and independent vein of idealist philosophical and theological (...) speculation in Britain, in the late nineteenth and early twentieth century, which is not often studied in any great depth or mentioned except in passing. (shrink)

This paper is an attempt to clash the problem of forgiveness as formulated in contemporary secular and Christian ethics with Kierkegaard’s considerations concerning this issue. Kierkegaard’s thought is increasingly used in the modern debate on forgiveness. It is therefore worth investigating whether Kierkegaard’s considerations are really able to overcome in any way contemporary disputes concerning this problem or enrich our thinking in this area. The main thesis of this paper states that there is a fundamental, ontological difference between Kierkegaard’s understanding (...) of forgiveness and that of modern thinkers. While the Danish philosopher refers to the transcendent reality of spirit, where the act of forgiveness is always performed by God, in contemporary ethical and Christian thought, forgiveness is first and foremost formulated from an immanent point of view that appeals to the world of human values. This difference is demonstrated by analyzing the four main themes corresponding to the most important issues taken up in the contemporary debate on forgiveness. These are: the victim-offender relation, the conditionality and unconditionality of forgiveness, the issue of condonation, and the problem of the unforgivable. As a result of the analyses presented herein, the impossibility of directly applying Kierkegaard’s transcendent theses to ethical thought of the immanent variety will be shown. (shrink)

Grammatical gender agreement has been well addressed in language comprehension but less so in language production. The present article discusses the arguments derived from the most prominent language production models on the representation and processing of the grammatical gender of nouns in language production and then reviews recent empirical studies that provide some answers to these arguments.

Preface--I. The definition of pragmatism and humanism--II. From Plato to Protagoras.--III. The relations of logic and psychology.--IV. Truth and Mr. Bradley.--V. The ambiguity of truth.--VI. The nature of truth.--VII. The making of truth.--VIII. Absolute truth and absolute reality.--XI. Empiricism and the absolute.--X. Is absolute idealism solipsistic? XI. Absolutism and the dissociation of personality.--XII. Absolutism and religion.--XIII. The papyri of Philonous, I-II.--XIV. I. Protogoras the humanist.--XV. II A dialogue concerning gods and priests.--XVI. Faith, reason, and religion.--XVII. The progress of psychical research.--XVIII. (...) Freedom.--XIX. The making of reality.--XX. Dreams and idealism.-- Index. (shrink)

My assertion is that God’s biblical image may not reflect entirely His existence in itself as well as His revealed image. Even if God in Himself is both transcendent and immanent at the same time, and He is revealing accordingly in the history of humankind, still the image of God constructed in the writings of the Old Testament is merely the perspective made upon God by His followers to whom the He has revealed. That could be the reason why for (...) centuries God’s biblical image seems to emphasize more His immanence, starting with Pentateuch, where God cohabites with Adam on Earth, then He reveals Himself to Abraham and Moses and so on. Somewhere, after the Babylonian exile, the image suffers slightly differences tilting towards God’s transcendence. In a path already created and grounded by Israel’s ancestors, even this new color of transcendence bears the nuances of immanence. How can this be possible? Let’s take a look on the revelation received by Abraham from God and see how this can fit the profile. Instead of the transcendence of God regarded by others in the differentness of Yahweh appointed by Abraham in his walking out of Mesopotamia, I will prove otherwise, that Abraham is on the contrary proving God’s immanency in this very differentness of His in relation with other gods by providence and omnipresence, indwelling His creation. (shrink)

This article critically examines the transition from Marx to Spinoza within Antonio Negri’s postoperaist thought and explores a potential alternative rooted in Mario Tronti’s concept of the ‘autonomy of the political’. In Negri’s postoperaismo, the embrace of Spinoza reevaluates Marx’s critique of political economy through an optimistic lens, suggesting a tendency beyond capitalism. However, Negri’s embrace of a Spinozian plane of immanence entails a problematic affirmation of what exists. The article argues that Negri’s worldview, despite its beginnings, ends up resembling (...) deterministic historical materialism. While critical theory exposes flaws in Negri’s theory, it falls short in providing a practical alternative. Returning to Negri’s interpretation of Spinoza’s Political Treatise uncovers earlier arguments, rooted in paradoxes inherent to practical politics. However, reliance on the concept of the multitude highlights deeper issues in Negri’s approach. Rather than adhering to postoperaismo or critical theory, the article suggests an alternative in Tronti’s journey from operaismo, particularly in the concept of the ‘autonomy of the political’. Notwithstanding critiques, this attempted liberation from Marxist determinism allows for a clearer confrontation with politics. The article concludes that Hardt and Negri’s recent critical engagement with this concept advances their arguments but does not entirely overcome inherent limitations in their approach. (shrink)

In this paper, I shall draw attention to an as yet unpublished excerpt of a part of Kant’s Religionsschrift (Religion within the Limits of Reason Alone) written by an unknown author that has been found in Schiller’s literary remains, labelled by the Goethe-Schiller-Archiv as ‘general working material’. A note on the excerpt itself marks it as pertaining to the first edition of Kant’s text. A few questions arise from that find: First, which parts of Kant’s text does the excerpt represent? (...) Secondly, does it really refer to the first edition of the Religionsschrift? Thirdly and fourthly, who authored it and how did it get into Schiller’s hands? I shall answer the first two questions by providing a tentative transcription based on which I am going to argue that the excerpt treats the first pages of the first part of Kant’s Religionsschrift and does not refer to the first, but indeed the second edition from 1794. As far as the last two questions are concerned, no definitive answer can be given. Instead I detail Schiller’s endeavours and personal contacts around the time of the publication of the Religionsschrift’s second edition, which might provide some clues as to the possible author for future investigations. Furthermore I outline the impact Kant’s discourse had on Schiller’s own philosophical works, i.e. his essay On Grace and Dignity. (shrink)