Many cultures relate fragrances to the spiritual sphere. In Western culture, Christian tradition tends to present olfaction as a ‘spiritual’ and incorporeal sense. Moreover, Catholic religion traditionally attributes to some saints the capacity to emanate celestial fragrances that operate as indexical signs of their exceptional spiritual quality. This particular spiritual gift is known as osmogenesis. Although psychoanalysis and a part of contemporary scholarship and culture tend to place odors and olfaction at the core of bodily life, the parallel and antithetic (...) trend of connecting odors to the sphere of sacredness, spirituality and immateriality remains widespread: traces of this imagery can be found not only in figurative art and literature, but also in the communication strategies adopted by numerous brands to present their perfumes. By reconstructing and discussing some of the main features of the imaginary involving odors and spirituality, both inside and outside the circumscribed sphere of religion, this paper shows that the connection between fragrances and spirit unquestionably remains a relevant esthetic value in relation to olfactory perception in contemporary culture. (shrink)

In the Abhidharma texts, that flowers perfume sesame is used as a simile describing the mechanism of perfuming (_vāsanā_/_paribhāvanā_) in the context of meditative cultivation. According to the Sarvāstivādins, the meditative perfuming requires the co-existence of the perfumer and the perfumed. In comparison, the Yogācāra-vijñānavādins employ the same simile to explain their doctrine of the perfuming of all _dharma_s in _ālayavijñāna_, which demands the _bīja_ as the perfumed and the manifested _dharma_s as the perfumer to be simultaneous. My hypothesis (...) is that the Yogācāra idea of the perfuming of all _dharma_s is derived from the Abhidharma doctrine of meditative perfuming through the Sautrāntika theory of perfuming in non-concentrated (_asamāhita_) state. The idea of equating _vāsanā_ and _bīja_ probably took place under the doctrine of successive causality during the sectarian communication among the Sarvāstivādins, the Dārṣṭāntika-Sautrāntikas, and the early Mahāyānists. The Vaibhāṣika principle of simultaneous perfuming, which requires that the perfumed must co-exist with the perfumer, makes it possible in the Yogācāra-vijñānavāda that a _bīja_ in _ālayavijñāna_ is simultaneous with its manifestation. (shrink)

Em Clarice Lispector (1920-1977), encontra-se um autêntico projeto literário, verificável a partir da absorção do ocasional, do cotidiano e até do corriqueiro como emissários de sentidos latentes, arquivos de questões irresolvidas, memórias palimpsésticas e sutis. Essas e outras características aparecem no delicado livro De Natura Florum (2021), lançado recentemente pela Global Editora, com ilustrações desenvolvidas por Elena Odriozola, que recebeu o prêmio nacional de ilustração e com projeto gráfico de Alejandro G. Schnetzer. O livro, anteriormente, foi publicado pela primeira vez, (...) em 03 de abril de 1971, no Jornal do Brasil (Rio de Janeiro) e em 1984 fez parte de uma seleção do livro de Crônicas A Descoberta do Mundo. (shrink)

Ibn Arab? (1165-1240) stands out for the immense magnitude of his work and for the depth and breadth of his thinking. His works are the result of divine inspiration and multiple mystical, visionary experiences in the course of a life devoted to teaching and travel throughout the Maghreb and the Middle East.

The use of perfumes, incense, colognes, and plant and flower essences in Amazonian healing practices is a hallmark feature of vegetalismo, a form of healing in Peru’s Amazonian regions. Sprayed, smoked, rubbed on bodies, and poured in medicinal baths, these odorous tools are vital allies to the curandero for cleansing bodies and spaces, for protection, or to add potency to medicinal plants. Certain perfumes are more common than others, particularly the citrusy Agua de Florida, an 18th Century eau de cologne (...) from the United States. Focusing in on the history of Agua de Florida and its ubiquity in Western Amazonia, I suggest the necessity of a sensory anthropology for exploring the vast healing potential of vegetalismo. Going beyond the visual to consider other sensory experiences lends insight into the various healing mechanisms in Amazonian shamanism that are often overlooked by western epistemologies of health and healing. (shrink)

Cleopatra VII, the last of the Ptolemaic rulers of Egypt, reveled in perfume (Plutarch, Life of Marcus Antonius 26.2). She even used it in her seduction of the Roman general Marc Antony. Sailing up the river Cydnus to meet him, she reclined in a canopy spangled with gold, adorned like Venus in a painting. Boys dressed as cupids fanned her and wondrous scents from incense offerings wafted along the riverbanks. Not long after her death in August 30 BCE, a (...) book circulated under her name called Cleopatra’s Cosmetic, full of recipes for fragrant oils and cleansers (Totelin 2017: 114–18). (shrink)

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) On the other hand, Jerrold Levinson’s intentional-historical definition and Dominic Lopes’s approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation. (shrink)

Christianism often mentions perfumes. Its liturgy based on Scripture uses incense and balm. A reading from the Bible and the lives of saints reveals many extraordinary perfumes (“odours of sanctity”). The Virgin Mary holds extreme importance among saints and it is quite common to see her spreading miraculous fragrances. These are subtle, discrete but pleasant signals from Heaven. They are sent to everyone in order to convert non‑believers or turn back believers to the faith in God. The divine origin of (...) perfumes is tied up with the memories and hopes from Paradise. It marks bodies escaping from death and entering into eternal life. (shrink)

Musks, the foundation of many perfumes, as well as other ingredients of perfumes, were critical objects of study for establishing theoretical concepts about large ring chemical compounds and polymerization in the 1920s and 1930s. Because fragrance chemistry has been underdeveloped in the historiography, doubtless partly because it has become associated with the feminine, this has been ignored in the historiography. This essay highlights the strategic importance of perfume research, looking in particular at the work of Leopold Ružičkač, 1939 Nobel (...) laureate in chemistry who had close ties to the fragrance industry, and Wallace Carothers at DuPont, whose well-known work on polymerization was intimately concerned with large ring compounds, including musk, and which indeed led to DuPont producing a synthetic musk in the 1930s. (shrink)

We comment on certain features that second-level inference rules commonly used in mathematical proof sometimes have, sometimes lack: suppositions, indirectness, goal-simplification, goal-preservation and premise-preservation. The emphasis is on the roles of these features, which we call 'perfumes', in mathematical practice rather than on the space of all formal possibilities, deployment in proof-theory, or conventions for display in systems of natural deduction.

Perfumes embody a chemical record of style and technology. Blurring the boundary between what counts as natural and artificial in both a material and a perceptual sense, perfumery presents us with a domain of multiple disciplinary identities relevant to social studies: art, craft, and techno‐science. Despite its profound impact as a cultural practice, perfume has seldom featured in historical scholarship. The reason for this neglect is its inherently qualitative dimension: perfume cannot be understood via codified representation but requires (...) direct acquaintance with its sensory and material basis. The historical study of perfumery thus necessitates an experimental approach that comes not without challenge. This article looks at contemporary recreations of old perfumes to identify the difficulties involved in the experimental recreation of fragrances as sensory and performative artifacts. We highlight the need for a reconceptualization of methodology for inconcrete objects of study as part of the broader interest in experimental approaches to the humanities. (shrink)

This chapter contains sections titled: Chanel No. 5 and Perfume Fashions Coco Mademoiselle Ads Male Perfume Ads Celebrity Perfumes by Women of Color Perfume Aesthetics, Erotics, and Ethics Resisting the Fantasy: Erotics and Commodity Fetishism.

Musk, which is produced from the glands of several species of deer, was a well-known perfume throughout the Mediterranean Basin in the Middle Ages. The current article examines the meaning of the gathering operation of myrrh mentioned in Song of Songs 5:1, according to R. Joseph Ibn Aknin and Naḥmanides. The two commentators argue that the phrase ariiti mori can be interpreted as the unique manner of gathering the perfume of the musk deer in its lands of origin (...) in the Far East. They contend that harvesting the perfume refers to gathering the perfume that the deer spreads on the rocks naturally, which is a higher quality product. The two medieval rabbis were exposed to contemporary scholars or oral traditions on the way of gathering the musk. Ibn Aknin took the information from Arabic writings, such as of al-Sirāfī and al-Masʿūdī and Ibn JulJuly With regard to Naḥmanides, his source of information on gathering musk is not clear. Contribution: This article contributes to the understanding of the issue of the sources of knowledge of scholars in medieval times and how the achieved information influenced their commentaries on the Biblical Text. The current study expounds the commentators’ interpretations from a multidisplinary perspective, such as the medieval zoology and perfume industry. (shrink)

Many individuals on the autism spectrum are hypersensitive to certain sensory stimuli. For this group, as well as for non-autistic individuals with sensory processing disorders, being exposed to e.g. fluorescent lights, perfume odours, and various sounds and noises can be real torment. In this article, I consider the normative implications of such offence for the design of office spaces, which is a topic that has not received any attention from philosophers. After identifying different ways in which the senses of (...) hypersensitive workers might be protected within these spaces, I show that many of such accommodations can be made at reasonable cost, before arguing that doing so ought to be a legal requirement. (shrink)

Sentada en un bar, mientras Simone de Beauvoir lee mi artículo de la semana pasada, la miro. Ninguna madre burguesa tendría de qué quejarse: la señora Beauvoir tiene una blusa cuidadosamente planchada; está fresca como una rosa, su rostro es terso y limpio, de ella emana un discreto perfume, es verdaderamente perfecta. Su rebelión contra su familia y su entorno, tan bien descrita en las Memorias de una joven formal, no se muestra en los detalles de la vestimenta. No, (...) definitivamente, Simone de Beauvoir no tiene la agresividad "amazónica" al límite. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Lily of the Valley, or Love as Breathing in the ScentChantal Jaquet (bio)The Lily of the Valley, published by Balzac in 1836, can be considered as a standard in olfactory literature since the novel is entirely built on the perception of odors and the central role of breathing in romantic relationships. As the title indicates, it is in the floral and olfactory registers that the essence of love (...) expresses itself. Perfume presides over the birth of love, the recognition of the other, and the definition of the woman's identity. We can read it as a poetics of breathing that tells another story and re-enchants the world. The Lily of the Valley offers a powerful antidote to the impediments to breathing nowadays. I try here to interpret it like an ode celebrating another way of inhaling the world through love and perfumes.Love at first scentThe Lily of the Valley tells the story of the platonic love of a young man, Felix, for a married woman, Madame de Mortsauf. From the beginning, their first meeting takes place under the auspices of breath and perfume. During a party, Felix, who is extremely bored, finds refuge on an abandoned bench; a woman, taking him for a child, sits next to him. Felix is then immediately drawn to the stranger's perfume and is pulled out of his sullen torpor to feel an unparalleled fascination:Immediately, I smelt a woman's fragrance which shone in my soul as oriental poetry was to shine later. I looked at my neighbour and was more dazzled by her than I had been by the ball.(15)Perfume thus triggers love and becomes the very essence of the beloved woman. Before he perceives any visual detail, Felix is flooded with an olfactory emotion, which will be taken over and amplified by the poetic evocation of the Orient and its fragrances. The woman's scent, which re-enchants his morose universe, dazzles him with its brilliance and eclipses vision by taking possession of its attributes. It is only afterward that he begins to examine the shoulders, bosom, and hair of the woman with the luminous perfume. It is the act of inhaling her perfume that triggers his [End Page 34] love at first sight and wrests the following confession from him: "All of a sudden, I was in love" (16).This primacy of olfaction and breathing continue to hold true in the absence of the beloved when the latter is no longer smelled, but simply evoked: "At the thought that my queen-elect lived in Touraine I breathed the air with delight [...]" (16). The feelings that develop even before a second meeting takes place do not belie the first romantic olfactory sensation, but strengthen it following a process of crystallization that transforms the soulmate into a fragrant flower. The stranger, under the influence of Felix's poetic imagination, becomes the lily of the valley, a symbol of beauty and purity. Despondent over the disappearance of the woman he loves, whose name he does not even know, the young man, pressured by his family to seek distraction, travels to Touraine, to the Château de Frapesle, to stay with a friend of his mother's. He discovers a magnificent valley near Montbazon, which, in his eyes, can only be where his beloved resides. Here we see the perspicacity of the lover who picks up the scent of his beloved and sees her face in the landscape:She lived there. My heart had not misled me. [...] She was, as you already know, though you know nothing yet, THE LILY OF THIS VALLEY, where she grew for Heaven, filling it with the perfume of her virtues.(18)The olfactory dimension of the lily prevails here over floral vision. It is the perfume of her virtues exhaled in the valley that defines the beloved permanently and immemorially, and makes her into a celestial creature with the odor of sanctity. The use of the imperfect tense in "she was the lily" evokes the magic of a love story that seems like a fairy tale. She was the lily, because once upon a time there was a woman who... (shrink)

The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...) seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. The result is a rigorous and original theory of metaphor, criticism, imaginativeness, and their interrelations. (shrink)

If we need a figure to indicate the way in which the influence of Plato has passed through Europe, we must liken it, not to a river continually at the flood, but to an expanding atmosphere enveloping and pervading whatever it meets, an atmosphere with a perfume that has made some sick and others open their nostrils to take in the seed and substance of a new life. A river makes a linear path which, except perhaps for a few (...) sinuosities and an occasional overflow, can be traced with relative ease; but an atmosphere, enlarging itself in all dimensions, with attenuation here and condensation there and precise limits nowhere, offers neither clue nor pattern for the inquisitive historian who would, seek to plot its course. We may be prepared to find it anywhere. So it is with the metaphysics of Plato. No sphere of learning or of art has kept beyond its reach. Anyone who, by comprehending its particular incidence and its total range, would write the most remarkable single chapter in the history, of thought, would have to search the minds not merely of philosophers but also of saints, scientists, poets, painters, sculptors, statesmen, and educationists of all ages. He would even have to search for the breath of it among the innumerable works of fiction that tumble mechanically from our modern undiscriminating presses. The following, for example, is pure Platonism: “We come from a world where we have known incredible standards of excellence, and we dimly remember beauties which we have not seized again; and we go back to that world. Uncle Pio and Camila Perichole were tormenting themselves in an effort to establish in Peru the standards of the theatre in some heaven whither Calderon had preceded them.” To understand, alike in its emotional beauty and in its scientific severity, the metaphysic that underlies such charming phrases is perhaps an obligation, almost a necessity, and certainly a privilege. (shrink)

Odor detection and identification by machines is currently being done to evaluate perfumes, wine, olive, oil, and even find people buried in rubble. Extending body odor detection to authentication may seem far-fetched and unrealistic. Yet such an application is plausible, given that like a fingerprint or iris, the human body odor is unique. Although such technology still has strides to make before being applicable as either a stand-alone or supplemental technology to existing biometric tools, it still warrants research, especially in (...) how the technology is perceived. Numerous studies have addressed the public perception of biometric technologies, although odor scanning is one that has been under-addressed. This exploratory study addresses perceptions and attitudes of odor scanning and recommends directions for future research and practice. This study has found that odor scanning is little understood, and its benefit to security and privacy are perceived as low. Should body odor scanning develop into a viable method of biometric authentication, issues of perception and acceptance will need further attention by both research and practice. (shrink)

En 'Cuestiones fundamentales de la sociología', texto hasta ahora inédito en castellano, Simmel sitúa el campo de investigación de esta disciplina como el espacio intermedio donde se produce el constante fluir de la interacción social, donde los encuentros generan actitudes y rituales, tanto en situaciones previstas como casuales y espontáneas. Por eso, Simmel incluye en su perspectiva sociológica fenómenos hasta ese momento desatendidos, como el secreto, el amor, la amistad, el adorno, el vestir, los perfumes, la hostilidad y la hospitalidad, (...) la fidelidad y la gratitud. Al evitar el estilo científico académico, Simmel crea un nuevo tipo de ciencia, que partiendo de una interrogación epistemológica y ontológica es capaz de proporcionar estructuras cognitivas sólidas acerca de las formas empíricas de lo social. De ahí que su 'sociología formal' desemboque en una 'sociología filosófica', desde la que plantea tres grandes oposiciones no superadas; entre individuo y sociedad, entre libertad e igualdad y entre socialismo e individualismo. Integrar estos contrastes en una síntesis es la gran tarea del futuro, 'una vez que el primado de las formas deje de ser patrimonio de la economía'. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 27-40 [Access article in PDF] Sensible Qualities: The Case of Sound Robert Pasnau University of Colorado 1. Background The Aristotelian tradition distinguishes the familiar five external senses from the less familiar internal senses. Aristotle himself did not in fact use this terminology of 'external' and 'internal,' but the division became common in the work of Arab and Hebrew philosophers, and in (...) the Latin West the distinction is taken for granted.1 I am going to put to one side the obscurities involved in the various internal senses of phantasia, imagination, memory, etc.; I will instead focus on the external senses. These five external senses—sight, hearing, smell, taste, touch—have their familiar counterparts in the external world: color, sound, odor, flavor, and the various tangible qualities. (The tangible qualities, unfortunately, resist being reduced to a single genus, and are typically listed as hot and cold, wet and dry, etc., where this etc. stands in for the complete list that one might or might not be able to give.2 ) These sensibilia (I will simply speak of sensibles) were known as the proper or special objects of the external senses.In addition to these proper objects, the senses were taken to have five common objects—size, shape, number, motion, rest—and also an unlimited variety of incidental objects, the per accidens sensibles—Coriscus, one's enemy, a horse race, etc. These per accidens sensibles are in a way the most interesting and important sense objects of all. They are interesting, first, inasmuch as one of the hardest and most interesting problems about perception is the problem of seeing as, which seems to be precisely the phenomenon at issue [End Page 27] here. They are important, also, inasmuch as genuine perception, as we now think of it, almost always involves the perception of something sensible per accidens. Our everyday sensory experiences revolve around the experience of seeing objects of certain kinds. We can of course step back and decide that what we are really seeing is colors and shapes. But that is not how we ordinarily see things.Despite their interest and importance, I want to put aside these per accidens sensibles, and focus instead on the common and proper sensibles, both of which Aristotle described as sensible per se (kath' hauta). In his classic statement on the objects of sensation, at De anima II 6, 418a7-25, Aristotle suggests that the grounds for distinguishing the per se from the per accidens are that the former sensibles are capable in their own right of making an impression on the senses. Color itself affects the external senses, and so does size. Coriscus, however, considered as Coriscus, does no such thing. He affects the senses only inasmuch as he is colored, perfumed, etc.3 To focus on the per se sensibles, then, is to focus on those things in the world that are suited to make impressions on the external senses.Why are some such sensibles proper, whereas others are common? The well-known rule of thumb here, reflected in how we refer to these sensibles, is that each proper sensible can be perceived by only one of the external senses. The common sensibles are those per se sensibles that fail this test. (Note that, of the common sensibles, only number, movement and rest are truly common to all five of the senses; shape and size are perceptible only by touch and sight.4 ) It is not clear, however, that this is the appropriate criterion for distinguishing the proper from the common sensibles. Albert the Great, for instance, argues that a proper sensible must meet three tests: (1) It is sensed by only one sense; (2) this sense is not capable of error with respect to it; and (3) the organ of this sense is naturally suited to be affected by it alone.5 The last of these tests is problematic, however, for at least two reasons. First, it is problematic for touch, given that the tangible qualities resist being reduced to a single genus. Second, more seriously... (shrink)

Virtuous Bodies breaks new ground in the field of Buddhist ethics by investigating the diverse roles bodies play in ethical development. Traditionally, Buddhists assumed a close connection between body and morality. Thus Buddhist literature contains descriptions of living beings that stink with sin, are disfigured by vices, or are perfumed and adorned with virtues. Taking an influential early medieval Indian Mahayana Buddhist text-Santideva's Compendium of Training (Siksasamuccaya)-as a case study, Susanne Mrozik demonstrates that Buddhists regarded ethical development as a process (...) of physical and moral transformation. Mrozik chooses The Compendium of Training because it quotes from over one hundred Buddhist scriptures, allowing her to reveal a broader Buddhist interest in the ethical significance of bodies. The text is a training manual for bodhisattvas, especially monastic bodhisattvas. In it, bodies function as markers of, and conditions for, one's own ethical development. Most strikingly, bodies also function as instruments for the ethical development of others. When living beings come into contact with the virtuous bodies of bodhisattvas, they are transformed physically and morally for the better. Virtuous Bodies explores both the centrality of bodies to the bodhisattva ideal and the corporeal specificity of that ideal. Arguing that the bodhisattva ideal is an embodied ethical ideal, Mrozik poses an array of fascinating questions: What does virtue look like? What kinds of physical features constitute virtuous bodies? What kinds of bodies have virtuous effects on others? Drawing on a range of contemporary theorists, this book engages in a feminist hermeneutics of recovery and suspicion in order to explore the ethical resources Buddhism offers to scholars and religious practitioners interested in the embodied nature of ethical ideals. (shrink)

Chinese Buddhist thought is more than a case of “Indianization” or “Sinicization,” and even less, “Distortion.” Chinese Buddhist thought should be grasped, first, in its own terms and only then in terms of the possible influences or confluences that flowed into it. The present article will seek to look into the concept of “Suchness vasana” (perfumation by the Buddhist absolute, Suchness, upon avidya, ignorance) as used by the Huayan school in China. Then it will show how, in the elaboration of (...) this idea, Fazang, the key patriarch of the Huayan school, apparently drew on a mode of thought that is derived from the Yijing, the Book of Changes. It is in the nature of the present article that only the Chinese influence will be underlined and that the Indian contributions to the formation of a theory of a “dynamic Suchness” will only be briefly touched upon. Scholars have long noticed the Daoist influence of Chinese Buddhological thinking, especially within the Ch'an and the Hua-yen circles. However, too often scholars only suggest impressionistic parallels, between, say, the book Laozi and the Platform Sutra of the Sixth Patriarch or between Mencian humanism (“Every man can be Sage Yao and Shun”) and the idea that “Every man can be Buddha.” Such presentations of Chinese influence bypass the various problems involved in the long and thorny history of conflict, compromise, mutual self-discovery, and fertilization between the two cultural traditions. The present article will try to be much more concrete by documenting and analyzing the series of incidents that led to a datable innovation on Fazang's part. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On David Bentley Hart's Account of TraditionMatthew LeveringIn Tradition and Apocalypse, David Hart argues that "the concept of 'tradition' in the theological sense, however lucid and cogent it might appear to the eyes of faith, is incorrigibly obscure and incoherent."1 This claim coheres with the New Testament scholar Ernst Käsemann's notion of apocalyptic, as set forth in Käsemann's well known rhetorical questions—to which he answers in the negative—"Has there (...) ever been a theological system which has not collapsed? Have we been promised that we should know ourselves to be in possession of a theologia perennis?"2 For Käsemann, Christian theological "continuity" (if such there is) consists in "the hope of the manifestation of the Son of Man on his way to enthronement"3—Easter hope. Hart follows his own version of this path.Hart contends that he does not intend to overthrow the truth of the Nicene Creed.4 But he bemoans the claims of various Christian communities—Catholic, [End Page 215] Orthodox, Protestant—to have faithfully communicated the Gospel: "All Christian communions of any size or duration have their distinctive traditionalisms, their myths of continuity amidst rupture and rupture amidst continuity, their claims of doctrinal pedigree and of allegiance to the authority of the Christian past."5 Hart rejects all such ecclesial claims of dogmatic continuity and fidelity. Theologically, he deems it impossible for anyone "to say with absolute finality what the one true tradition is."6 Historically, he thinks it impossible to discern any "rational unity within the course of Christian tradition that one could confidently claim has been sustained intact amid the flux of times and cultures."7There are certain rhetorical emphases that stand out as Hart describes his own constructive view of Christian "tradition." He states that tradition is "the constant creative recollection of a promise whose fulfillment and ultimate meaning are yet to be unveiled"—not in the sense that the Church awaits the fullness that is to come and that dogmatic propositions, while true, are always inadequate to divine realities, but in the stronger sense of appealing to "a future apocalyptic horizon where the tradition's ultimate meaning is to be found" and rejecting "any reduction of that final revelation to whatever formulations of belief happen to be available at any given stage of doctrinal development." Hart depicts Christian tradition as an active transmission of a gift that remains fundamentally hidden and unknown. He invokes the image of "the impartation of a gift that remains sealed, a giving always deferred toward a future not yet known." There is a giving, but this giving is "always deferred," its future is "not yet known," and the gift itself "remains sealed." Hart argues that the "gift must remain sealed until the very end, so that the glory will not dissipate into ordinary time, whose atmosphere is incapable of sustaining and nourishing it." Time—history—cannot sustain or nourish the divine gift, and so it must be "sealed" until the end of time; and yet it can be known "in and as" ever-changing, historical tradition.8Tradition accomplishes this handing on of the sealed gift, says Hart, through its "ceaseless flow of... intertwining variations." Hart adds with regard to historicity and to "the animating impulse of the tradition": "Once that vital force has moved on to assume new living configurations, the attempt unnaturally to preserve earlier forms can achieve nothing but... the perfumed repose of a cadaver."9 The "earlier forms" that once [End Page 216] contained the "vital force" must constantly be reconfigured within tradition's "ceaseless flow."Hart pictures a destabilizing "play of tension and resolution, stability and disintegration," and he holds that we must possess a "positive desire for moments of dissolution" if we are to be faithful to "whatever is most original and most final in a tradition." Only thus can whatever is "most imperishable in a tradition... be fitfully perceived, or at least sensed," by those few persons spiritually and intellectually able to do so. By comparison, I would suggest that the core realities of faith can be much more than "fitfully perceived" or "sensed"; I think dogmatic formulations serve... (shrink)

Along the highways of Burma there is placed, at regular distances away from the dust of the road, and under the cool shade of a group of trees, a small wooden building called a "rest-house", where the weary traveller may rest a while, and allay his thirst and assuage his hunger and fatigue by partaking of the food and water which the kindly inhabitants place there as a religious duty.Along the great highway of life there are such resting places; away (...) from the heat of passion and the dust of disappointment, under the cool and refreshing shade of lowly Wisdom, are the humble, unimposing "rest-houses" of peace, and the little, almost unnoticed, byways of blessedness, where alone the weary and footsore can find strength and healing.Nor can these byways be ignored without suffering. Along the great road of life, hurrying, and eager to reach some illusive goal, presses the multitude, despising the apparently insignificant "rest-houses" of true thought, not heeding the narrow little byways of blessed action, which they regard as unimportant; and hour by hour men are fainting and falling, and numbers that cannot be counted perish of heart-hunger, heart-thirst, and heart-fatigue.But he who will step aside from the passionate press, and will deign to notice and to enter the byways which are here presented, his dusty feet shall press the incomparable flowers of blessedness, his eyes be gladdened with their beauty, and his mind refreshed with their sweet perfume. Rested and sustained, he will escape the fever and the delirium of life, and, strong and happy, he will not fall fainting in the dust, nor perish by the way, but will successfully accomplish his journey.James Allen. (shrink)

Research into early Chinese olfactory culture is only just beginning. This paper argues that before the arrival of Buddhism, elite scent culture had already begun to be transformed by the importation of foreign aromatics, though these substances arrived shorn of their original cultural context. Prior to the importing of intense foreign perfumes, the aromatics available were mostly local, and traditional Chinese practice stressed the use of individual scents in religious contexts, a concept which also had a profound influence on secular (...) usage. The same is true of early osmographies, which link particular kinds of smells—including many that might be considered unpleasant—to the changing seasons. When foreign spices and aromatics arrived in China for the first time, a phenomenon later literature specifically associates with the reign of Han Wudi, this resulted in the development of new complex and powerful perfumes. This in turn may have had a significant impact upon the material culture of Han China, with the spread of personal scenting devices and incense burners. (shrink)

The woman who anoints Jesus is unique within Mark’s Gospel, since her action is to be remembered wherever the Gospel is proclaimed. She is portrayed as a prophetic figure because her act of anointing points to Jesus’ kingship, which is revealed at the time of his death. Her critics condemn her gift as wasteful, arguing that the perfume should have been sold and the money given to the poor. The Greek term ap ōa leia, however, may be translated as (...) ‘waste’ or ‘loss’. In the literary context of Mark’s Gospel the ‘waste’ of the perfume corresponds to the ‘loss’ of Jesus’ life, since it recalls the teaching of Jesus on discipleship in which the use of the cognate verb apollumi is used to show that only those willing to lose life will save life. The woman’s action of breaking the jar and pouring out the perfume foreshadows the Last Supper in which Jesus identifies the bread with his body, and refers to the cup of wine as his blood which is poured out for many. Her prophetic action aligns her with Jesus’ suffering and death, and her extravagance affirms the preciousness of life in the midst of death. The woman’s gift encapsulates the message of the Gospel because it foreshadows the new creation that comes about through Jesus’ death. (shrink)

If we need a figure to indicate the way in which the influence of Plato has passed through Europe, we must liken it, not to a river continually at the flood, but to an expanding atmosphere enveloping and pervading whatever it meets, an atmosphere with a perfume that has made some sick and others open their nostrils to take in the seed and substance of a new life. A river makes a linear path which, except perhaps for a few (...) sinuosities and an occasional overflow, can be traced with relative ease; but an atmosphere, enlarging itself in all dimensions, with attenuation here and condensation there and precise limits nowhere, offers neither clue nor pattern for the inquisitive historian who would, seek to plot its course. We may be prepared to find it anywhere. So it is with the metaphysics of Plato. No sphere of learning or of art has kept beyond its reach. Anyone who, by comprehending its particular incidence and its total range, would write the most remarkable single chapter in the history, of thought, would have to search the minds not merely of philosophers but also of saints, scientists, poets, painters, sculptors, statesmen, and educationists of all ages. He would even have to search for the breath of it among the innumerable works of fiction that tumble mechanically from our modern undiscriminating presses. The following, for example, is pure Platonism: “We come from a world where we have known incredible standards of excellence, and we dimly remember beauties which we have not seized again; and we go back to that world. Uncle Pio and Camila Perichole were tormenting themselves in an effort to establish in Peru the standards of the theatre in some heaven whither Calderon had preceded them.” To understand, alike in its emotional beauty and in its scientific severity, the metaphysic that underlies such charming phrases is perhaps an obligation, almost a necessity, and certainly a privilege. (shrink)

ABSTRACT Some twenty years ago, sport philosopher Ken Saltman in ‘Men with Breasts’ argued that breasts in American culture signify nurturing motherhood, the object of love and desire, and are capable of selling numerous products from cars to perfume. Saltman focused on bodybuilding and argues that there is gender subversion in bodybuilding reinforced by stereotypical contradictoriness of gender norms, ideals and expectations. A dichotomy continues to exist in sport; women’s breasts are often viewed as incompatible with sport, especially with (...) respect to breastfeeding, as evidenced by the regulations leading up to the 2020 Tokyo games. Breasts are also viewed as nuisance in sport yet simultaneously breasts are highly sexually objectified which results in a challenging and sexist culture that women athletes are forced to navigate. In this article, I aim to provide an updated philosophical analysis on breasts, and argue that breasts continue to create a contested terrain for women athletes. In part one, I make a case for the sexual objectification of breasts and the sports bra in sport, and in section two, I focus on the incompatibility of breasts and challenges for breastfeeding athletes. (shrink)

This analysis holds that just as wisdom is good for its own sake, the effervescent perfuming of aesthetic pleasure in rasa, camatkāra, need not be useful for a goal or purpose. However, there is an intellectual virtue in the act of aestheticizing the affective response of wonder. The “here and now” of the aestheticized emotion of wonder, adbhutarasa, is a moment of focus and attention regained as a logically atemporal, even timeless moment. As the carvaṇā process unfolds, adbhutarasa invites an (...) epistemic agent to give time through focused attention, a contemplative tarrying, or an unhurried attentional prolongation. Looking across Platonic, Cartesian, and Kantian traditions to answer the question of epistemic value in rasa experiences, I argue that an agent is moved, and moves into an evaluative mode through the lenses of the sublime and taste. Renewed vigor to see, feel, and contemplate how things are, thickens epistemic emotions. The agentive freedom of the rasika to affectively resonate with ideas re-cognitively makes adbhuta a vehicle of inquiry like none other. (shrink)

“I can smell you”—spoken as a factive statement, it is jarring and if uttered to a stranger it seems transgressive. Telling someone you see them generates a sense of affirming their identity, but your smell is private. Perhaps smell isn’t the lead sense, but what I hope to make clear throughout this chapter is that our sense of smell allows us to perceive aspects of our own and other’s identity. The chapter aims to show that our unconscious perception of the (...) smell of ourselves and others partially constitutes the foundations for our sense of self. We are immersed within an invisible sea of odourous chemical currents, some derived from our environment with its everyday flux of objects while other odourous plumes derive from the humanity encompassing us. People have a rich bouquet of smells generated from the volatile chemical compounds emanating from them, including their bodily odours (BO), their adorned perfumes, and associated environmental smells from their abode hitchhiking on their person. As individuals we have a smell that is composed from these ranges of odours that allows us to recognize ourselves as an olfactory entity distinct from someone else’s BO bouquet. However, if forced to introspectively report our own smell we would be befuddled. We aren’t often aware of smelling ourselves (unless we are worried about stinking), and we have trouble recollecting the last time we volitionally engaged in exploratorily sniffing someone else. Thus, establishing a weak constitution relation between smelling and our sense of self is challenging. What will need to be revealed is something that escapes our daily awareness and introspective access, that is, that we are continually perceiving our own and other people’s smells. Moreover, these qualitative states occur outside of conscious awareness and yet generate an underlying aspect of our sense of self. Aside from jostling our intuitions about the foundations of our sense of self the evidence surveyed might also require reconceptualizing the conscious versus unconscious distinction in accommodating the nature of our olfactory self and other smelling. (shrink)

This article examines contemporary representations of sakura (cherry blossom) in cosmetics marketing. Since the Heian period, sakura has been loved and regarded as having tangible and metaphorical significance in Japan. Imagery of sakura is rich in ambiguity and has a complex history as evident in its use in the militaristic promotion of heroism, especially related to the Second World War. However, in recent decades, sakura imagery has proliferated across a range of popular culture both inside and out of Japan. In (...) this article we focus on the circulation and meanings of sakura imagery accessible and appropriated in Australia with specific attention to cosmetics. Sakura offers not only aesthetic pleasure but also potentially some health benefits. Our discussion draws on data from surveys and interviews with participants in Australia about their perspectives of sakura aesthetics related to colour symbolism. This is accompanied by close analysis of colour symbolism in recent perfume, skincare and cosmetic marketing, branding and packaging which use sakura imagery. We argue that, using the complex symbolism associated with the wide colour spectrum, sakura imagery has now been refashioned as a versatile promotional tool in the global market, as exemplified by the brand engagement of sakura-themed cosmetics. (shrink)

How long can we accept the fact that what is needed for running water, schools, hospitals, and food enough for all humanity is a sum that corresponds to the amount spent by wealthy Western countries on perfume in a year? This is not a question of human rights and morality. It is a question of the fundamental battle for equality of all people, against the law of profit, whether personal or national.

How long can we accept the fact that what is needed for running water, schools, hospitals, and food enough for all humanity is a sum that corresponds to the amount spent by wealthy Western countries on perfume in a year? This is not a question of human rights and morality. It is a question of the fundamental battle for equality of all people, against the law of profit, whether personal or national.

As I move through the garden, something, a strange species of writing, hovers before me like the perfume of a wild rose. I read the words: Metaphor is a plant. That is to say, plants are metaphors for metaphor. This message, then, this vegetal missive, appears to be constituted by a kind of phyto- or antho-morphism, reading by way of a metaphorical vegetal life. But as I continue to write, as I ‘extend’ myself, as Derrida does, ‘by force of (...) play’, I find that this, in the end, will have been an extended metaphor. (shrink)

When Lysidamus arrives on stage in Plautus′ Casina, he delightedly announces that he is in love with the slave girl Casina. He is returning, he says, from an expedition to buy perfume which he hopes has made him appealing to his beloved. Casina′s name is derived from the fragrant spice casia. Cassia and the related spice cinnamon originate in the Far East and were imported to Rome through Arabia or Africa.Like other ancient spices, cassia was used as perfume, (...) condiment, and in medicinal and religious contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dmitry Khanin THE POSTMODERN POSTURE Postmodernists—the sectarians ofour day—proclaim that the old kingdom of historical narrative and historical subject has perished, and is now being replaced by a new one of ahistorical discourses and ahistorical characters. According to these prophets, "history" is anyway just changes in ways of talking about history. Anyone who does not agree with the ahistoricity of the postmodern world oudook may be accused—and tried on (...) the spot—of defending the cause of the totalitarian Reason against the most liberating movement of today. This postmodernist abuse of history is paradoxical, since the very notion of history coming to its end and giving way to the ahistorical kingdom of freedom and merry debauchery is itself a very old idea, even a mythological one. The description ofhistory as marching toward its own demise relies on a whole tradition which portrays history as a drama. Aristode's conception of tragedy as a sequence of actions culminating in a dénouement has no doubt shaped this view of historical process. Christian and other religious millenarians have announced the end of history already many times. Yet another notorious instance of such eschatological daydreaming is the futurology of Karl Marx, who envisaged the kingdom of communism as occupying this same ahistorical space. A rather obsolete idea, perhaps, but it seems still to attract postmodernists, though they give it a characteristic twist, since they sincerely believe theory, discourse, écriture (i.e., theoretico-symbolical activity) are much more important than any actual historical contentprocesses and events. One of the most notable spokesmen for this approach is Arthur Danto, who insists that world history evolved in a good Hegelian manner until the theorists came to understand that history depends on their Philosophy and Literature, © 1990, 14: 239-247 240Philosophy and Literature texts much more than theorists themselves depend on historical processes and events.1 Many theoreticians working in an otherwise Marxist tradition similarly are glad to assert with FredricJameson that we must say farewell to Marx's positivistic illusion that history is driven by laws disguised as economic forces.2 In the epoch of "late capitalism," says Jameson, consumption gains the upper hand over production and becomes the mainspring of history. Of course, in light of recent doings in Europe I am tempted to ask if we owe it to postmodernists—and their ahistorical, inconsistent, and generally confounding claims about history lying in ruins—that the Berlin Wall actually is in ruins and Vaclav Havel is president of Czechoslovakia. Even more daring theorists may now declare an era of "very late capitalism." Here it will not be merely the mass media that act transformatively on society (as McLuhan claimed), but rather consumer goods themselves, like state-of-the-art washing machines or French perfumes, which create a new aura of intellectual discourse. TL· Postmodern Scene: Excremental Culture and Hyper-AesÜietics, a book by two Canadian authors, Arthur Kroker and David Cook, promotes such a sea change in the theoretical landscape and along the way presents a joyous recapitulation ofthe latest fads in postmodern thinking. The new apostolic generation ofpostmodern critics seems to enjoy the beautiful new things that can be bought for bucks, worrying at the same time that bucks may be losing some of their purchasing power. Like Hari-Krishnas dancing in the street they luckily possess a sort of happy consciousness which also recalls their puritanical great grandfathers who regarded profligacy as the greatest sin and much preferred saving to spending. In what follows I want to draw a portrait of this new postmodern posture. A few main assumptions underlie Kroker's and Cook's wake for postmodernism, which, in its peculiar genre of philosophic obituary, epitomizes and thus prepares for future oblivion views which were exceedingly popular in the preceding decade. First of all, the authors adopt Baudrillard's equation of Marx and Nietzsche: "Marx and Nietzsche shared a deep and common affinity in meditating upon historical (Christian) and materialistic (capitalist) expressions ofthewill ofpower."3 From Baudrillard's perspective Marx appears as a pathetic romantic who tried to defend the "referential illusion" by renaturalizing concrete labor even though its entirely abstract character was brilliandy revealed in Das Kapital. Baudrillard... (shrink)

The surviving portion of the tenth-century Egyptian Muḥammad b. Aḥmad al-Tamīmī’s recently edited Ṭīb al-ʿarūs has several formulas relating to the dying and perfuming of textiles. Some refer to the use of carved molds to impress designs upon textiles. Tamīmī’s formulas treat in particular the application of gold leaf and perfumed dye pastes with blocks, but presuppose the technology of using blocks to apply designs to textiles and include a vocabulary of technical terms for the process. This textual evidence provides (...) additional context for surviving early medieval Islamic block-printed gilded textiles. The attestation of the use of blocks to decorate textiles is contemporary with the use of blocks to print Arabic amulet texts, known by the tenth century from extant specimens and some literary evidence. (shrink)

There seems to be a large gulf between percepts and concepts. In particular, con- cepts seem to be capable of representing things that percepts cannot. We can conceive of things that would be impossible to perceive. (The converse may also seem true, but I will leave that to one side.) In one respect, this is trivially right. We can conceive of things that we cannot encounter, such as unicorns. We cannot literally perceive unicorns, even if we occasionally ‘‘see’’ them in (...) our dreams and hallucinations. To avoid triviality, I want to focus on things that we can actually encounter. We perceive poodles, perfumes, pinpricks, and pounding drums. These are concrete things; they are closely wedded to appearances. But we also encounter things that are abstract. We encounter uncles and instances of injustice. These things have no characteristic looks. Percepts, it is said, cannot represent abstract things. Call this claim the Imperceptability Thesis. I think the Imperceptibility Thesis is false. Perception is not restricted to the concrete. We can perceive abstract entities. (shrink)

Cynthia's apparition is upbraiding Propertius ior having forgotten her so soon. In spite of their former love, he had not been present at her death, and, because of his neglect, her funeral had been a mean affair, lacking not merely any signs of affection, but any semblance of ordinary decent feeling. In a succession of couplets tracing the regular stages of a Roman funeral from the deathbed to the final rites of the cremation, this lack of respect and affection is (...) particularized: no loving voice had been heard in her dying moments ; her body had been laid out to await the funeral with little thought for what was seemly at such a time ; on the day of the funeral Propertius had not put on mourning or shown signs of grief ; the funeral procession had moved with indecorous haste to the city gate ; Propertius had not been present at the cremation, and no perfumes had been poured on the flames ; no customary final offerings had been made to the ashes. (shrink)

Conscious experience of the sensation of smell provides exemplars of the sensation exhibiting to us what it is like. These exemplars of experiences can become vehicles or terms of representation and meaning. I call this exemplar representation and the process exemplarization. The notion of exemplarization is indebted to Hume and Goodman. I modify the notion here to apply to the sensation of smell. Exemplar representation differs from verbal representation because the exemplar, like a sample, exhibits what the represented items smell (...) like, a perfume, a spice, or an animal. The exemplar represents the sensation and, at the same, represents external objects, my example is the spray of a skunk, by exhibiting what a skunk smells like. The exemplar is part of the meaning and conception of the external object. This solves the problem, as Reid insisted, of how experience of smell justifies perceptual belief in the existence of external objects. The meaning of thought and discourse about external objects is not exhausted by the exemplarization of the sensation of smell, but the exemplar becomes evidence of their existence as part of the meaning of what they smell like. The evidence and justification of the exemplar is fallible and defeasible. However, exemplar justification, when undefeated by error in the way it coheres with a background system, becomes knowledge of the external world. (shrink)

Theoretical Perspective on Smell is the first collection of scholarly articles to be devoted exclusively to philosophical research on olfaction. The essays, published here for the first time, bring together leading theorists working on smell in a format that allows for deep engagement with the emerging field, while also providing those new to the philosophy of smell with a resource to begin their journey. The volume’s 14 chapters are organized into four parts: -/- I. The Importance and Beauty of Smell (...) II. Smell in Time and Space III. What We Perceive through Smell IV. Smell and Other Senses -/- The collection solidifies the area as an important emerging branch of perceptual philosophy by presenting the cutting edge research being done by innovative early career researchers, as well as by those more senior and established within the field. -/- Table of Contents 1. Introduction Andreas Keller and Benjamin Young -/- Part I: The Importance and Beauty of Smell -/- 2. The Role of Smell in Consciousness Barry C. Smith -/- 3. The metacognitive gap: Why we both trust and mistrust our sense of smell Ophelia Deroy -/- 4. Perfumes and the Aesthetic Appreciation of Nature Chiara Brozzo -/- 5. Aesthetics, Olfaction, & Environment Michael Aaron Lindquist -/- Part II: Smell in Time and Space -/- 6. Smell and the Space Between Us Clare Batty -/- 7. The Temporal Structure of Olfactory Experience Keith A. Wilson -/- Part III: What We Perceive through Smell -/- 8. How Biology Perceives Chemistry: A Causal Analysis of the Stimulus in Olfaction and its Implications for Scientific and Philosophical Theorizing Ann-Sophie Barwich -/- 9. The Accuracy Conditions of Olfactory Perception Andreas Keller -/- 10. Maybe We Don't Smell Molecular Structure Benjamin D. Young -/- 11. Stuff & Nonsense: Against Mizrahi on Olfaction Harry Sherwood -/- 12. The Layering of Smell William G. Lycan -/- Part IV: Smell and the Other Senses -/- 13. From Odors to Flavors: Perceptual organization in the chemical senses Becky Millar -/- 14. Seeing and hearing flavors Błażej Skrzypulec -/- 15. Smelling Gustatory Qualities Louise Richardson. (shrink)