In lieu of an abstract, here is a brief excerpt of the content:The Holy Trinity in Ippolito Desideri's Ke ri se ste aṇ kyi chos lugs kyi snying poTrent PomplunOn April 10, 1716, Ippolito Desideri, a Jesuit who had but recently arrived in Tibet, wrote a long letter to another Jesuit missionary, Ildebrando Grassi, who was stationed in Mysuru, India. Desideri recounted his adventures since the two men had last been together, three and a half years earlier, at the Jesuit (...) residence in Goa. He told of his travels to Surat, Delhi, Lahore, Leh, and Lhasa, and recalled his first impressions of Tibetan religion and culture. Tibetans, he told Grassi, were gentle and docile, but coarse and uncultivated. In Desideri's opinion, they had neither arts nor sciences, but they did reject the doctrine of transmigration and appeared to have some knowledge of the Christian faith.1 "Here is what I learned about the Tibetans' religion," he wrote,They call God könchok (dkon mchog), and they appear to have some notion of the adorable Trinity, for at times they call Him könchok chik (dkon mchog gcig), that is, the One God, and at other times they call Him könchok sum (dkon mchog gsum), that is, the Triune God. They also use a kind of chaplet, over which they repeat the words Oṁ ah hūṁ, and they say that the word Oṁ signifies knowledge or an arm, that is, power; ah is the word, and hūṁ is the heart, or love, and that these three words mean God. They also worship a being named Padmasaṃbhava, who was born some seven hundred years ago. When asked if he were God or man, some people replied that he was both God and man, having neither father nor mother, but having been born from a flower. Even so, they have statues representing a woman with a flower in her hand, whom they call Padmasaṃbhava's mother, and they venerate several others whom they treat as saints. In their churches, one finds an altar covered with cloth and ornaments, and a sort of tabernacle sits in the middle of the altar, where they say Padmasaṃbhava dwells, though they also assert that he is in heaven.2This letter, which survives only in a French translation, is noteworthy if only because Ippolito Desideri would later repudiate almost everything he affirmed in it. In a matter of months, the Jesuit missionary would change his mind about Tibetans' capacities for art, for science, and for culture. He would also change his mind considerably about their religion. [End Page 117]Perhaps the most significant change—and one that would later play a large role in his legal battle with the Capuchins for control of the Tibetan mission—concerned the knowledge that Tibetans had of the Holy Trinity, the central Christian mystery that God is Father, Son, and Holy Spirit. In what follows, I would like to explore Ippolito Desideri's explanation of the Holy Trinity, especially in the Ke ri se ste aṇ kyi chos lugs kyi snying po (The Essence of Christian Doctrine). I will briefly situate Desideri's account of Tibetans' knowledge of the Trinity in the general historical and theological context of the early modern missions, outline his various attempts to explain this central Christian mystery in Tibetan, and offer some tentative speculations on the Jesuit's motives for choosing certain Tibetan terms. I hope this discussion of Desideri's treatment of the Holy Trinity might contribute to Christian theologians and Buddhist philosophers who are engaged in interreligious dialogue and assist them in their reflections about how best to translate their respective faiths in such dialogue. Desideri's translations are not always perspicacious—as we shall see—but they are instructive, especially to the extent that they show us the issues that must be considered when anyone wishes to translate the basic terms of his own religion into an alien language. With this difficulty in mind, we might also consider the inadequacy of all language, human or angelic, when confronted with the mystery of God's infinite transcendence.Ippolito Desideri in ContextBefore addressing Desideri's translations, I would like to point out that the description of Tibetan religion... (shrink)

Visual art owes its modernity from the crisis it fell into in the midst of the nineteenth century. Courbet’s call for realism questioned the foundation of the art of his time. The incapacity of the series of ‘-isms’ that followed to answer Courbet’s call, pointed to a crisis not only in art, but in the then emerging non-artistic visual culture in general. In fact, Courbet’s call questioned the image paradigm that was in force since the Renaissance: the one of ‘representation’. (...) The crisis of art laid bare the crisis of the representation paradigm. Modern art’s complex relation to religion and spirituality must be understood in the context of this paradigm crisis. Although generally anti-religious, modern art often keeps on being fascinated by religion, spirituality, and mysticism. The ‘religious’, the ‘holy’, the ‘sanctity’ modern art is inclined to, is linked to the crisis it originates from. Does this reference to the religious and the spiritual, then, constitute the answer to that crisis? I defend the thesis that it rather affirms this very crisis. If there is something ‘holy’ in art, it is not the answer to which it makes people long, but it is art’s inherent crisis itself. If art has a ‘holy’ mission, it is to keep that crisis on the agenda of modernity. (shrink)

Numinous Fields has its roots in a phenomenological understanding of perception. It seeks to understand what, beyond the mere sensory data they provide, landscape, nature, and art, both separately and jointly, may mean when we experience them. It focuses on actual or potential experiences of the numinous, or sacred, that such encounters may give rise to. This volume is multi-disciplinary in scope. It examines perceptions of place, space, nature, and art as well as perceptions of place, space, and nature in (...) art. It includes chapters written by art curators, and historians and scholars in the fields of landscape, architecture, cultural geography, religious studies, philosophy, and art. Its chapters examine ideas, objects, and practices from the ancient time of Aboriginal Australians' Dreaming through to the present. The volume is also multi-cultural in scope and includes chapters focussed on manifestations of the sacred in indigenous culture, in cultures influenced by each of the world's major religions, and in the secular, contemporary world. Contributors: Samer Akkach, James Bennett, Veronica della Dora, Alasdair Forbes, Virginia Hooker, Philip Jones, Russell Kelty, Muchammadun,Tracey Lock, Ellen Philpott-Teo, John Powell, Rebekah Pryor, Wendy Shaw. (shrink)

From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, I (...) did not know how to approach what I had — provisionally — called Augustine’s dialogue with God. It appeared to me that Augustine, in an accidental and indirect way, had re-invented the Platonic dialogue and had turned it into a new Christian genre. “It is true,” I told myself, “that the genre of the Confessions shows family resemblances with the hagiography and the autobiography. But most certainly it cannot be reduced to these genres.” The Greek words ‘hagios’ (holy) and ‘autos’ (self) are in flagrant contradiction with the intention of the Confessions. Augustine tries to stay clear of any claim of holiness and only highlights his own ‘self’ to immediately question it. “Is the Platonic dialogue,” I asked myself, “not a far more appropriate predecessor for Augustine’s dialogue with God?” Both types of dialogues can be seen as true dia logoi in which at least two different voices emerge. However, contrary to what one would expect, it is not the dialogue form itself that frames these two voices. Instead the two voices emerge within the discourse of a single speaker, incorporating true otherness within the discourse of the self. Building on these reflections, I explore how Augustine's dialogue with God succeeds in eluding Feuerbach's charge of self-projection. (shrink)

This article will show that lectio divina or the formative reading of Holy Scripture goes beyond exegetical-critical methods and fosters in the heart of every reader a more personal-reflective approach. This approach serves as a directive source guiding our faith and formation journey. Formative readers by definition desire to grow in spiritual self-knowledge and to allow the communications they receive to touch and transform their lives, if God so wills. Two requirements for formative reading will be explained herein: its meditative (...) or contemplative components and its applicative dimensions. Both facets of this discipline lead to a dynamic encounter with sacred words. We are to read the Bible and the literature of spirituality in such a way that the texts we imbibe will help us to tune into the inner life form or direction meant for us by God from eternity. Essential to this article is also a description of the difference between informational and formational reading. While there is a time and place for both, one way should not be substituted or forgotten in favor of the other. In short, the integration of head and heart, of inspiration and incarnation, is the hidden goal of formative reading. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Holy Spirit and the World Religions:On the Christian Discernment of Spirit(s) "after" BuddhismAmos YongIntroductionArguably, recent Christian theological reflection on religious pluralism and the world religious traditions has taken what might be called "a pneumatological turn."1 This emerging conversation is itself an outgrowth of focused attention on both pneumatology and trinitarian theology during the last generation. Applied to the world of the religions, the turn to pneumatology has furthered (...) discussion on theology of religious pluralism by introducing new categories and shifting directions of inquiry. So whereas previous thinking about the religions focused on whether or not they were or are salvific, a pneumatological theology of religions asks whether or not and how, if so, the religions are divinely providential instruments designed for various purposes. Further, while earlier debates focused on whether or not the religions were or are the results of common grace or natural revelation, a pneumatological theologiareligionum asks other kinds of questions, such as, what is the relationship of religion and culture, or of religion and language? How does religion function to sustain life and community? What role does religion play via-à-vis the other dimensions and domains of life, whether it be the arts, politics, economics, etc.? Finally, previous theologies of religion bogged down on abstract intra-Christian issues as evident in the dominant categories of exclusivism, inclusivism, and pluralism; a pneumatological theology of religions, on the other hand, attempts to push beyond these in-house categories by engaging religious others on their own terms.In explorations of a pneumatological theology of religions, however, one set of problematic questions repeatedly arises. Simply put, it has to do with how Christians can discern the Holy Spirit in the world of the religions and do so nonimperialistically in our postcolonial world. The Christian assumption is that besides the Holy Spirit of God, there are other spirits, perhaps unholy ones—human, institutional, even demonic—that are operative in the world in general and in the religions particularly. The biblical injunction to "test the spirits to see whether they are from [End Page 191] God" (1 John 4:1) is especially crucial for a pneumatological theology of religions. The Johannine account presents a criterion for discerning the Spirit that is christological: "every spirit that does not confess Jesus is not from God. And this is the spirit of the antichrist" (1 John 4:3). The immediate goal in the Johannine context is to provide tools to discern Gnostic deformations of Christian faith within the community. In the present situation of encountering religious pluralism, however, the context is interreligious rather than intra-Christian, and the task is complicated by the fact that other religious traditions may well have different definitions of the good, beautiful, true, and holy, and different criteria to discern such.The dilemma is this: If we discern the Spirit using Christian (e.g., biblical) criteria, we end up either "christianizing" the other insofar as we find the Spirit to be present, or "demonizing" the other insofar as we find the Spirit absent. In the former case, we appear to have allied ourselves with Rahner's idea of "anonymous Christianity," and thus opened ourselves up to all the difficult counterquestions generated by such a position, not the least of which is that we have imposed our own categories on religious others who are distinct from ourselves and have their own self-understandings. In the latter case, not only have we arrived at theologically charged rhetoric liable to be abused socially and politically, but we have also done so by declaring religious others void of certain goods and values as determined by criteria external to them. In fact, even to ask if the Spirit is present and active in other religions is to stand within a Christian framework—the Holy Spirit always being the Spirit of Jesus and the Spirit of Christ, which is not assumed by other faiths. What is the alternative? Can Christians even attempt to discern the Holy Spirit using non-Christian (i.e., non-biblical) criteria or criteria derived from other faiths? Does not to do so result either in relativizing Christian norms alongside those of other faiths or in reverse... (shrink)

In this essay, I will argue that a political theology of human work can provide the sacramental principle underlying the theology of labor. This principle could complement the foundations of Catholic social teaching, since the sacramental aspects of work have not been made very explicit in the ethical framework of the Church's theology of work. The view of labor as the active participation in God's future is an important aspect of such a theology. In order to serve as a foundation (...) for faith-based labor organizing, I will claim that it needs to be complemented by a sacramental view of labor as art, a labor-aesthetic that undergirds a labor-ethic, in which labor itself becomes a sign and instrument of the way the Church becomes God's work in the world. First, I will sketch an outline of some of the major positions on labor in modern Catholic theology. Then, I will draw on the writings of the British poet and painter David Jones to explore a sacramental view of human work, arguing that a sacramental view of work could support the Church's social criticism of laborer's circumstances. (shrink)

The Spirit of Secular Art: A History of the Sacramental Roots of Contemporary Artistic Values explains the spiritual prestige of art. Various theorists have discussed how art has an aura or indefinable magic. This book explains how, when and why it gained its spiritual properties. The idea that all art is somehow spiritual (even though not religious) is often assumed; this book, while narrating the historical trajectory of art in the most accessible language, reveals how the mysteries of religious practice (...) are abstracted and saved through all stages of secularisation in European culture. The Spirit of Secular Art presents a coherent theory defining the sacred basis of Western aesthetics. It evocatively describes the afterlife of the holy from Ancient Greece to the present, and outlines how the mysterious institution of art can be explained in material terms. Unlike other books in the genre, The Spirit of Secular Art radically deconstructs traditional art history in terms of 'prestige' and the value of the non-material. The book functions as: an alternative critical history of art, integrated with the histories of literature and belief; a philosophical essay on the fundamental values of art and religion; and a critique of the spiritual conceits of contemporary aesthetics and art appreciation. (shrink)

This book presents the major teachings of Mahāyāna Buddhism in a precise, dramatic, and even humorous form. For two millennia this Sūtra, called the “jewel of the _Mahāyāna Sūtras_,” has enjoyed immense popularity among Mahāyāna Buddhists in India, central and southeast Asia, Japan, and especially China, where its incidents were the basis for a style in art and literature prevalent during several centuries. Robert Thurman’s translation makes available in relatively nontechnical English the Tibetan version of this key Buddhist scripture, previously (...) known to the English-speaking world only through translations from Chinese texts. The _Tibetan_ version is generally conceded to be more faithful to the original Sanskrit than are the Chinese texts. The Tibetan version also is clearer, richer, and more precise in its philosophical and psychological expression. The twelve books of the Sūtra are accompanied by an introduction and an epilogue by Dr. Thurman and by three glossaries: Sanskrit terms, numerical categories, and technical terms. (shrink)

There is an ancient Christian tradition of a ‘good and holy death’. That tradition has largely been forgotten in the medicalization of death, which regards death solely as an enemy to be defeated at all costs. This paper examines the tradition of a holy death through the lens of Margaret Edson's play W;t, with particular attention paid to the use of John Donne's poetry in the play. The paper then uses theologian Allen Verhey's writings on the Christian art of dying (...) as a means to understand the play in a Christian context, with special attention paid to the way in which it portrays Vivian Bearing, the play's protagonist, as a victim as much as a beneficiary of modern medicine. (shrink)

This essay brings psychoanalytic theory on trauma together with film and television criticism on rape narrative in an analysis of Michael Coel’s 2020 series I May Destroy You. Beyond the limited carceral framework of the police procedural, which dislocates the act of violence from the survivor’s history and context, Coel’s polyvalent, looping narrative metabolizes rape television’s forms and genres in order to stage and restage both trauma and genre again and anew. Contesting common conceptions of vulnerability and susceptibility that prefigure (...) a violent breach of autonomy, Coel’s series and her interviews about it invite an ethics of looking that embraces a curiosity in the unknowable and untreatable kernel of subjective experience and defies and resists a policing of the survivor’s thoughts and emotions. By emphasizing and exploring what psychoanalysis calls the “afterwardness” of trauma, Coel foregrounds her main character’s subjectivity prior to her victimization, widens the sphere of consequence beyond the victim and criminal justice system to the survivor’s larger community, and entreats that community to preserve a space for her to look and look again at everything, without judgment. (shrink)

Quatro painéis de muito boa pintura, representando aspectos da vida e martírios dos Santos Mártires de Lisboa, Veríssimo, Máxima e Júlia, estão patentes no Museu Carlos Machado, em Ponta Delgada, nos Açores.Obras nunca estudadas antes de 2001, embora referenciadas documentalmente já no século XIX, permaneceram em colecções particulares até aos anos sessenta do século XX, quando foram doadas ao museu açoriano, onde se encontram em bom estado de conservação. Nunca dali saíram, a não ser um dos painéis para a XVII (...) Exposição Europeia de Arte, Cultura e Ciência (núcleo da Casa dos Bicos) e outro painel, em 1992, para uma exposição em Génova. As obras, de relativamente pequenas dimensões, são muito ricas em aspectos iconográficos e de caracterização de ambientes. Datáveis da década de 30 do século XVI, têm sido atribuídas ao pintor Garcia Fernandes e, mais recentemente, a Cristóvão de Utreque, um dos mestres que foi referenciado como eventual colaborador dos chamados Mestres de Ferreirim: Cristóvão de Figueiredo, Gregório Lopes e Garcia Fernandes.Muito interessante, no entanto, é a iconografia das paisagens urbanas de duas das pinturas, mas a vida e os martírios dos santos não acompanham o que se conhecia da literatura do tempo. (shrink)

The science of Eloquence (Balāgha) has an important place in understanding the characterictic of Arabic language and its mysteries. The Qurʾān, which was a miracle in word, was sent down together with Islam, and at that time the Arabs, who were at the top of their game in rhetorics and eloquence, were challenged with this book. As a matter of fact, the society that was its interlocutor at the time of the Qurʾān's revelation was a very successful society in terms (...) of Eloquence and Clarity (of expression/faṣāḥa). The Qur'ān itself is full of testimonials to its eloquence and clarity. Its features such stylistics that even its opponents are astonished by it. And it was historically demonstrated that they are incapable of producing anything like it, except that they were amazed. The literary beauties hidden in the verses of the Qur'ān can only be seen, understood, and appreciated through the science of eloquence. In this respect, the philological tools, be they Ṣarf and Naḥw or Balāgha, are very impostant for the correct understanding of the Qur'ān. Every chapter of the Qurʾān contains many literary arts in terms of the science of Eloquence. For example, it has been said that the Fatiha sūrah, the first sūrah of the Holy Qur'ān, is a very rich sūrah in literary terms. This literary richness of the Fatiha sūrah has clearly influenced its meaning indirectly. In this way, only the literary arts of the Fātiḥa Sūra, which were mentioned in the exegetical work of Abū Ḥayyān called " al-Baḥr al-muḥīṭ", were introduced and explained. Our aim around this work is to investigate the contributions of literary arts on verses in terms of meaning within the science of eloquence(balāgha). The literary arts mentioned in the study were studied and examined from various sources related to Arabic language and Eloquence science in general, and the information and findings obtained about these arts are given here. The information and determinations obtained about these arts are also included here. The formation of these literary arts in general took place in line with the analysis of more than one verse body in the Surah of Fatiha in terms of the science of eloquence and the depth of meaning it added to syntax in the semantic context. The subject matters were briefly stated and it was mentioned where and how these arts emerged in the verse. In this study, we endeavored to present a brief account of the science and arts of eloquence, and tried to demonstrate the effects of literary arts within the verses of the surah. Finally, we strove to explain how important these literary arts are in terms of understanding the Qurʾān throughout the study. (shrink)

The article is devoted to almost unknown monastery of the Russian Orthodox Church, a Holy Trinity Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia that was one of the important pilgrimage places of the royal family in the 17th century. Despite the fact that the monastery was founded in the reign of Tsar Alexei Mikhailovich, it is an important link in the historical and cultural development of our Fatherland, primarily because the extant architectural monuments of outstanding artistic qualities. That is why the architectural ensemble (...) of the monastery occupies a prominent place in the history of Russian culture. In addition, Novo-Solovetskaya poustinia is an important historical object providing data on the development of Russian spiritual and artistic culture of the late seventeenth century. The question of cultural-historical and social roles that Orthodox monasteries played in the history of Russia is still not sufficiently studied is. The modern development of the Russian state cannot be complete without the restoration of the positive legacy that has been lost in our culture and morality. In this regard, the study of development and formation of the Orthodox monastic culture may fill this gap. Historical development of the Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia, its architecture can contribute to the restoration of our historical memory, which is an important factor in the revival of our national identity. The author of the article also tells about the history of monastery in tough years of godless power and about the people, who died for their faith and who are called now the new martyrs. (shrink)

Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...) I propose that the recognition of this intention depends on our interpretation of the artwork – an insight Goodman tried to capture with his assertion that our attributions of expressive properties to artworks function metaphorically. The realisation of the context-dependence of our expressive judgements about art and, hence, of the central role interpretation plays in these judgements, I contend, counts in favour of theories of expression like Goodman’s that focus on semantic concerns. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Holly Flora’s published dissertation is a critical contribution to scholarship of the origins of the Meditationes Vitae Christi, a text strongly associated with the preaching and prayer habits of the early Franciscan order and perhaps the most representative example of the late-Medieval devotional and pictorial phenomenon often summarized as the “Vita Christi tradition.” For almost a century, art historians have invoked the MVC to explain iconographic innovations in late-Medieval (...) and Renaissance art, in particular the emergence of apocryphal images of the early life of Christ. In contrast to these earlier art-historical uses of this text, Flora advocates for a re-contextualization of the MVC. She joins scholars, in particular Isa Ragusa, who suggest that the didactic content and devotional strategies of the MVC reflect a particularly Franciscan strain of the Vita Christi, one aligned with the cura monialium , and argues that it was probably composed by a Franciscan friar for the spiritual benefit of a Poor Clare. The MVC’s distinctive emphasis on themes of virginity, silence, and enclosure support this interpretation, as do a series of interjected prompts or imperatives for the reader to visualize herself participating in poignant events that underscore the humanity of Christ and promote affective devotion. Flora sees the MVC as an attempt by a friar to reconcile the competing Franciscan notions of the vita activa and vita contemplativa in the interests of a cloistered nun under his care; the performative devotional strategies offered by the MVC would have afforded her the means to engage actively—even if only virtually—in a life of extreme poverty or to engage in charitable public giving as exemplified by the lives of Christ and the Virgin, opportunities Flora suggests were not readily available to a cloistered nun.Association of the MVC with the Poor Clares is bolstered by the manuscript that probably contains the closest witness to the original version of this text . The author’s compelling consideration of the textual, material, and pictorial content of Ms. ital. 115 supports the claim that it was made in Pisa around 1340–50 for the community of Poor Clares at the convent of San Martino. Although written on paper rather than parchment and painted in a humble watercolor technique, Ms. ital. 115 contains the lengthiest extant pictorial cycle of any version of the MVC, a characteristic that agrees with the image-centric devotional practices of medieval nuns. Flora’s comparison of those few MVC manuscripts that contain pictorial cycles of comparable length casts into relief those discrete iconographic characteristics of the Ms. ital. 115 cycle. Most telling are ubiquitous images of women that resemble Poor Clares, regular sewing companions of the Virgin, whose presence indicates the illuminators’ attentions to the interests and identities of their audience.Having established Ms. ital. 115’s Clarissan context, the remainder of the Devout Belief of the Imagination is a consideration of a Poor Clare’s interaction with the manuscript. Flora describes this experience as an intensely emotional didactic process that begins with instruction and culminates in imaginative devotional performances where Mary constitutes the main paradigm for female monastic conduct. The extensive account of the Virgin’s childhood in the Temple, for example, supplies a progressive lesson for a young nun on the virtues of discipline and devotion. The culmination of this spiritual maturation process is the extraordinary text-image structure of the Circumcision of the Christ child by his Mother. Not only does this event resonate with Franciscan typology, but as Flora demonstrates, Mary’s privileged position in sharing the suffering of Christ offers a powerful introduction to the affective devotional strategy that structures the viewer’s experience of the remainder of the manuscript. Extended pictorial sequences that follow metaphorically address the cloistered condition of a Poor Clare viewer and her particular spiritual needs. The Holy Family’s Flight into Egypt and their.. (shrink)

Arguing that the importance of painting and other visual art for Benjamin's epistemology has yet to be appreciated, Weigel undertakes the first systematic analysis of their significance to his thought. She does so by exploring Benjamin's dialectics of secularization, an approach that allows Benjamin to explore the simultaneous distance from and orientation towards revelation and to deal with the difference and tensions between religious and profane ideas. In the process, Weigel identifies the double reference of 'life' to both nature and (...) to a 'supernatural' sphere as a guiding concept of Benjamin's writings. Sensitive to the notorious difficulty of translating his language, she underscores just how much is lost in translation, particularly with regard to religious connotations. The book thus positions Benjamin with respect to the other European thinkers at the heart of current discussions of sovereignty and martyrdom, of holy and creaturely life. It corrects misreadings, including Agamben's staging of an affinity between Benjamin and Schmitt, and argues for the closeness of Benjamin's work to that of Aby Warburg, with whom Benjamin unsuccessfully attempted an intellectual exchange. (shrink)

Im Zentrum der Monographie von Claudia Rapp steht die Figur des christlichen Bischofs im Kontext der spätantiken Gesellschaft. Das Buch besteht aus zwei Teilen und einem Epilog. Der erste Teil (S. 1–152) erfüllt eine zweifache Aufgabe: Er bietet (1.) eine Übersicht über die relevante Forschungsliteratur und Positionierung der vorliegenden Arbeit in der Forschungslandschaft und (2.) die Präsentation des von der Verf. entworfenen Erklärungsmodells, das die gesamte Untersuchung konzeptuell bestimmt. Im zweiten Teil (S. 155–289) betrachtet die Verf. die Entwicklung der Rolle (...) des christlichen Bischofs im Kontext spätantiker Städte und Römischen Reiches vom 3. bis zum 6. Jahrhundert anhand von archäologischem, hagiographischem und juristischem Quellenmaterial. Im Epilog (S. 290–302) wird die Figur des Bischofs im Spiegel der Grabinschriften prominenter Amtsträger skizziert. Ein Quellen- und Literaturverzeichnis sowie ein Index beschließen den Band (S. 303–346). (shrink)

Two events, apparently distant one from the other and without any direct link between them, but nevertheless strictly connected by a common spiritual legacy, constitute the subject of this paper. The first one, took place in 1971, when a very special «ecumenical chapel» opened its doors to the public. It is known under the name of «Rothko Chapel», due to the general project, undertaken by the painter Mark Rothko. Since that time, it has become one of the most precious artworks (...) that represent the contemporary religious aesthetics. The black Rothko’s paintings, the Greek-cross building designed by the architect Philip Johnson, the Broken Obelisk of the artist Barnett Newman standing right out of the Chapel and the music composed for this ambient by the composer Morton Feldman, have replaced what traditionally has been called an «imago templi»; but contrary to all Christian tradition they represent (literally) no-thing. The second event, took place in 1795, when two young friends, Hegel and Schelling, were making a kind of oath under the sign of an Invisible Church, actualizing an ambiguous concept that, even if rooted in the Holy Scriptures, it had been condemned for its consequences as heretical. The relationship between these two events is given by contemporary art historians which have established that modern abstract painting, from a formal point of view, is rooted in the Romantic tradition. With this paper I would like to contribute to the establishment of this connection, not only by formal means, but by showing a common spiritual attitude towards images. Christianity, essentially figurative in its religious aesthetics, has always had to deal with the Jewish prohibition of image-making. This difficulty has been inherited to contemporary debates in which artist with classical readings and education, often of Jewish origins but active in Christian societies, try to create a new kind of art, above all traditions and free of dogmas. According to my suggestion, Rothko Chapel should be considered as the realization of a fragile balance in which both «aniconism» and «need of images» have simultaneously sublated their one-sidedness, producing a higher spiritual stage. Thus, such a chapel would not be a simple space where all religions could only meet and undertake a dialog, but should be considered as something more surprising: a unique realization of what logically appears as a pure contradiction: the realization of an Imago Templi for an Invisible Church. (shrink)

The iltifāt (reference switching) is one of the arts of high literary value, widely practiced in the Qurʾān. This art takes place in the form of switching to another person, verb mode, number, preposition or sentence type contrary to the necessity of the situation, while continuing the word as a certain person, verb mode, number, preposition or sentence type. The art of iltifāt adds certain meanings to words such as certainty, continuity and movement. It keeps the curiosity, desire, excitement and (...) shiver alive. Similar to those who read the Qurʾān, those who read the translation of the Qurʾān are expected to be able to notice these meanings as much as possible and feel the literary pleasure of this art. There are important structural differences between Arabic and Turkish. In addition, the text that needs to be translated into Turkish is Holy Qurʾān, which has a divine infinite dimension, and it is a limited human mind attempts to translate it. This situation requires an advanced level of caution and diligence in transferring the art of iltifāt to the translations of Qurʾān. The issue of the art of iltifāt and the transfer of this art to the translations of the Qurʾān has also been studied in scientific research in different world languages such as Arabic, English and Indonesian. As far as we can determine, the only study in Turkish that examines the reflection of the iltifāt in the Qurʾān is the article titled "The Translation Problem of the Art of iltifāt in the Translation of the Qurʾān" by Haşim Özdaş. In the mentioned article, five different Qurʾān translations of eight verses from different types of the art of iltifāt were examined. It has been claimed that there is no art of iltifāt in Turkish language and literature, and that the translation of the art of iltifāt in the verses into Turkish is an obstacle to understanding the verses and leads to a wrong or incomplete understanding. As a solution, while the verses are being given and translated, it is suggested that the art of iltifāt in the verses be ignored. In this research article, the cases of the translations of the Qurʾān reflecting the art of iltifāt, as an example of iltifāt between māzī (past tense) and muzāriʻ (present tense) verbs modes in the verses are discussed. In addition, it discusses the opinions that say there is no art of iltifāt in the Turkish language, that the exact transfer of the art of iltifāt found in the Qurʾān to the translations of the Qurʾān causes wrong or incomplete understanding, therefore, the art of iltifāt should be ignored when the verses are being translated. As a result, the present study argues that the art of iltifāt is also a subject of Turkish rhetoric, which should be reflected in the translations of the Qurʾān as much as possible, and the transfer of the art of iltifāt in the translations of the Qurʾān does not constitute an obstacle to understanding the verses, on the contrary, the reference to this art in the verses will contribute to the realization of the divine purpose and wisdom. The data sources of the research were created from 6 verses and their 22 different translations, using various sampling methods. The data collected from these were analysed using the comparative text analysis method on the basis of the inductive approach. Qualitative data was converted into quantitative data, processed in the SPSS application, and the findings were presented as numerical figures in tables. At the end of the research, it was determined that iltifāt between māzī and muzāriʻ verbs modes studied in the science of rhetoric was also a subject of grammar as the phenomenon of time shifts in verbs. It was seen that the art of iltifāt was applied in an average of 800 places in the Qurʾān, and the iltifāt between māzī and muzāriʻ verbs modes accounted for 6.9% (55 pieces) of this amount. Most of these fifty-five iltifāts were iltifāt from the māzī verb mode to the muzāriʻ verb mode (63.6%), while the amount of iltifāt the muzāriʻ verb mode to the māzī verb mode was less (36.4%). In the analysed translations of the Qurʾān, it was determined that the iltifāt between māzī and muzāriʻ verbs modes was not reflected at a rate of 90.9%, and the art of iltifāt was completely abandoned in 14 of the 22 translations. It was concluded that the reason why the art of iltifāt in the verses was not reflected in the translations of the Qurʾān was the belief that this art was not found in Turkish and that the transfer of this art leads to wrong and incomplete understanding. In the research, it was proposed to increase the number of scientific studies in which various translation strategies and techniques were tested in the transfer of the art of iltifāt in the verses in the translations of the Qurʾān. In this respect, this research article is expected to pave the way for more research on the issue of transferring the arts used in the Qurʾān and to be useful for future translations of the Qurʾān. (shrink)

La nature fait aujourd'hui l'objet d'une prise de conscience écologique : une impulsion cependant trans-séculaire qui peut en fait inciter à la méditation, s'inscrire dans un rapport à la philosophie, voire au mysticisme. Cet ouvrage traite de la production artistique, littéraire de cinq artistes religieux par vocation (Léon Boudal, Sabine Desvallières, Franz Stock, Émile Legault et Dom Robert) engagés dans un processus créatif prenant appui justement sur un rapport au milieu naturel. Acteurs d'une société imprégnée de mutations socioculturelles, tous les (...) cinq ont été à la recherche d'une esthétisation de la nature que leur connaissance affinée de la Genèse a sacralisée. L'auteure analyse alors pour chacun d'eux la part de dimension esthétique du sacré et la part de subjectivité personnelle (conditionnée par le vécu, l'éducation, les valeurs sociales) en matière de perception esthétique de cette nature, de leur approche de l'Art, déterminant l'intérêt créatif de leurs productions respectives"--Page 4 of cover. (shrink)

Arguing that the importance of painting and other visual art for Benjamin's epistemology has yet to be appreciated, Weigel undertakes the first systematic analysis of their significance to his thought. She does so by exploring Benjamin's dialectics of secularization, an approach that allows Benjamin to explore the simultaneous distance from and orientation towards revelation and to deal with the difference and tensions between religious and profane ideas. In the process, Weigel identifies the double reference of 'life' to both nature and (...) to a 'supernatural' sphere as a guiding concept of Benjamin's writings. Sensitive to the notorious difficulty of translating his language, she underscores just how much is lost in translation, particularly with regard to religious connotations. The book thus positions Benjamin with respect to the other European thinkers at the heart of current discussions of sovereignty and martyrdom, of holy and creaturely life. It corrects misreadings, including Agamben's staging of an affinity between Benjamin and Schmitt, and argues for the closeness of Benjamin's work to that of Aby Warburg, with whom Benjamin unsuccessfully attempted an intellectual exchange. (shrink)

Within cultural history there is a widespread eschewal of speculative reasoning. This article notes the complicity of the general postmodern avoidance of metanarratives with Anglo-Saxon empiricism and locates the major problem facing cultural history in postmodernism's conflation of trajectories and teleologies. Any discussion of the directionality of history is imputed to be a full-blown teleology. Using previous discussions from different fields, the difference between a teleology and trajectory is defended and, after clarifying certain confusions, it is argued that trajectories, as (...) following the working of generative mechanisms, are necessary to theorize in order to make interesting progress within the field of cultural history. (shrink)

Wit explores modes of reading representations of death and dying, both through the play’s sustained engagement with Donne’s Holy Sonnets and through Vivian’s self-reflexive approach to her illness and death. I argue that the play dramatizes reparative readings, a term coined by Eve Kosofsky Sedgwick to describe an alternative to the paranoid reading practices that have come to dominate literary criticism. By analyzing the play’s reparative readings of death and dying, I show how Wit provides lessons about knowledge-making and reading (...) practices in the field of health humanities. (shrink)

In the sentence marked DK22 B52, Heraclitus describes a boy playing with small objects. The boy has the entire kingdom at his disposal and he himself is identified with the eon. This famous fragment has been interpreted in numerous ways both by classical philologists and philosophers. Its current interpretation is that it is a metaphor for human life. The child, not yet familiar with rules of social life, introduces elements of randomness and careless play into that life. Meanwhile, comparison of (...) Heraclitus’ sentence with the Old Indic tales, lets recognize in the sentence the mythological theme of the act of creation – God creating and governing the world. Such governing means establishing fundamental mathematical rights – the same rights that are applied in astronomical observations and scientific research as a whole. Hypothesis, that the ancient Indo-European culture affected – through India – Heraclitus, lets better understand this philosopher’s thought which harmonically combines elements of science, religion and arts. The India hypothesis also explains the aura of sublimity and holiness found in our tradition. The aura that was present in the late antiquity thinkers who acknowledged Heraclitus’ sentence and passed it to the Western literature. (shrink)

In January 1968, Lucien Goldmann organized a conference on aesthetic theory in Royaumont, France. Adorno was one of the keynote speakers; I delivered a lecture on Lukács's The Specificity of the Aesthetic, which then was still not well known. Of course, we were immediately entangled in passionate discussions arguing for three different, and apparently irreconcilable, positions. Then something entirely unexpected happened. A young man took the rostrum and spoke with anger and irritation: Lukács, Goldmann and Adorno are all the same. (...) They are members of the Holy Family. By standing for the autonomy of art work, they seek salvation in a celestial image of the world. They are equally old-fashioned, bourgeois and despicable. (shrink)

ABSTRACTDuring the sixteenth and seventeenth centuries, the Inquisition was the institution most invested in the censorship of printed books in the Portuguese empire. Besides publishing the Indices of Forbidden Books, the Holy Office was also responsible for overseeing their implementation and ensuring their efficacy in preventing the importation, reading, and circulation of banned books. Overall, the sixteenth-century Indices condemned 785 authors and 1081 titles, including 52 authors and 85 titles of medicine, natural history, natural philosophy, astronomy, chronology, cosmography, astrology, and (...) divinatory arts. By looking at the largest collection of early modern scientific books in Portugal, I will argue that a closer inspection of marginalia and ownership, and the establishment of a typology of expurgations is essential for the comprehension of the actual practices and the mechanisms of censorship. By examining the material evidence of censorship, in order to reconstruct expurgation practices, this paper reveals the processes and effectiveness of ecclesiastical control in the Portuguese Inquisition and highlights the differences between what inquisitors wrote in the Indices and what others put into practice. (shrink)

In _The Enigma of Art. On the provenance of Artistic Creation_ Gino Zaccaria offers a meditation on art in light of its ancient Greek sense and of its task inaugurated by “artist-thinkers” like Cézanne, Boccioni and van Gogh.

If an artist sends a live peacock to an exhibition, is it art? 'What is art?' is a question many of us want answered but are too afraid to ask. It is the very question that Nigel Warburton demystifies in this brilliant and accessible little book. With the help of varied illustrations and photographs, from Cézanne and Francis Bacon to Andy Warhol and Damien Hirst, best-selling author Warburton brings a philosopher's eye to art in a refreshing jargon-free style. With customary (...) clarity, he explains art theories, that are much discussed but little understood, by thinkers such as Clive Bell, R.G Collingwood and Wittgenstein. He illuminates other perplexing problems in art, such as the artist's intention, representation and emotion. Drawing on photographs of Cindy Sherman and Tiananmen Square, Warburton shows that, if we are ever to answer the art question, we must consider each work of art on its own terms. A stimulating and handy guide through the art maze, The Art Question is essential reading for anyone interested in art, philosophy or those who simply like looking at and thinking about pictures. (shrink)

This paper deals with beauty as we encounter it in Christian works of art. Three main points are argued: i) Beauty, as it appears in the Christian work of art, is an invitation to delight and gratitude; ii) Beauty, as we encounter it in the Christian work of art, asks of us both the deepening of discernment and the cultivation of desire; iii) Beauty, as it is manifested in the Christian work of art, is not created by the artist but (...) is bestowed as a gift of God. Firstly, beauty must be recognised as giving delight. In defending this claim, the paper argues against theories which identify beauty with pleasure, and which devalue or dismiss beauty based on this false identification. Further, beauty does not only give, but also – as gift – makes a claim upon us. Gratitude is the appropriate response to beauty’s gift. Secondly, beauty as manifested in beautiful particulars embedded in the material and cultural world requires discernment. Moreover, we must embody a real receptiveness to beauty – by becoming beautiful ourselves – through the cultivation of desire. A full response to beauty entails the reorientation of our vision as well as our volition towards the infinite beauty of God. Thirdly, though beauty is manifestly present in made-made objects, it does so and is so as a gift of God. This understanding is supported by emphasising the Trinitarian nature of beauty. It is proposed that beauty is best identified not with the Son but with the Holy Spirit. (shrink)

L'Homme, cet être vivant doué de raison, fabricant d'objets élaborés, doté d'un langage articulé, chez lequel a émergé la pensée conceptuelle et symbolique, se caractérise par une aptitude à l'émerveillement, et une capacité d'espérance accompagnée d'un refus de l'absurde. Avec l'invention de l'outil manufacturé et les premiers témoignages d'une pensée symbolique, comment la fabuleuse aventure culturelle et spirituelle de l'Homme a-t-elle débuté? Pourquoi à travers les temps, même les plus anciens, et dans toutes les cultures, l'émergence du sens de la (...) transcendance n'a-t-il cessé de se manifester et de s'inscrire au coeur de notre humanité? Comment est-il devenu une caractéristique de l'Homme, une de ses aspirations profondes? Comment définir le sens du sacré? C'est de cette dimension intrinsèquement humaine, et des traces qu'elle a laissées, qu'il est ici question. Après L'Univers, la Vie et l'Homme : émergence du sens de la Conscience et Le Beau, l'Art et l'Homme : émergence du sens de l'Esthétique, voici le troisième et dernier opus dirigé par Henry de Lumley, issu d'un cycle de conférences au Collège des Bernardins. L'ambition de ces rencontres? Faire dialoguer physiciens, astrophysiciens, géologues, biologistes, paléoanthropologues, préhistoriens, historiens de l'art, philosophes et théologiens autour de questions qui ont trait à l'essence de l'humanité. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and ReligionRichard Shusterman (bio)IArt emerged in ancient times from myth, magic, and religion, and it has long sustained its compelling power through its sacred aura. Like cultic objects of worship, artworks weave an entrancing spell over us. Though contrasted to ordinary real things, their vivid experiential power provides a heightened sense of the real and suggests deeper realities than those conveyed by common sense and science. While Hegel (...) saw religion as superseding art in the evolution of Spirit toward higher forms that culminate in philosophical knowledge, subsequent artists of the nineteenth century instead saw art as superseding religion and even philosophy as the culmination of contemporary man's spiritual quest. Artistic minds as different as Matthew Arnold, Oscar Wilde, and Stephan Mallarmé predicted that art would supplant traditional religion as the locus of the holy, of uplifting mystery and consoling meaning in our increasingly secular society dominated by what Wilde condemned as a dreary "worship of facts."1 By expressing "the mysterious sense... of existence, [art] endows our sojourn with authenticity and constitutes the sole spiritual task," claims Mallarmé.2 "More and more," writes Arnold, "mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry."3Such prophecies have largely been realized. In twentieth-century Western culture, artworks have become the closest thing we have to sacred texts, and art almost seems a form of religion with its prophetic breed of creative artists perennially purveying new gospels and its priestly class of interpretive [End Page 1] critics who explain them to a devotional public. Despite wide recognition that art has an important commercial aspect, art sustains its cultural image as an essentially sanctified domain of higher spiritual values, beyond the realm of material life and praxis. Its adored relics (however profane they strive to be) are sacredly enshrined in temple-like museums that we dutifully visit for spiritual edification, just as religious devotees have long frequented churches, mosques, synagogues, and other shrines of worship.In advocating a pragmatist aesthetics I have criticized this otherworldly religion of art because of the way it has been shaped by more than two centuries of modern philosophical ideology aimed at disempowering art by consigning it to an unreal, purposeless world of imagination. Such religion, I have argued, is the enemy of pragmatism's quest to integrate art and life, a quest exemplified both in the classical Western notion of the art of living and some Asian artistic traditions, where art is less importantly the creation of objects than the process of refining the artist who creates and the audience who absorbs that creative expression.4There is good reason, however, why this sacralization of art should remain so powerfully appealing despite the widespread recognition of art's mercantile dimensions and worldly concerns. The reason, I believe, is that art expresses very deep meanings and spiritual insights that religion and philosophy once most powerfully provided but that they now no longer convey in a convincing way to most of today's secular populations throughout the world. So, in this essay I would like to reconsider the art and religion nexus from a different angle. I wish to explore the idea that art provides a useful, even superior, substitute for religion, one that is free from the latter's many disadvantages and that should be vigorously championed as an alternative that could eventually free our transcultural world from the hostile divisiveness and backward-looking attitudes that religions have inspired and instead lead us toward greater understanding, peace, and harmony.But a contrary yet equally interesting hypothesis likewise demands consideration: that art cannot be separated from religion, that rather than a real alternative, art is simply another mode or expression of religion. Or, to put it in a provocatively suggestive paraphrase, art is simply the continuation of religion by other means. If this hypothesis has merit—indeed, even if there is simply some deeply indissoluble link between art and religion—then we cannot simply look progressively past religion... (shrink)

Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add in (...) this paper the practical projection of these and other methodological theories on people’s training from Greek classical times. My hypothesis is that liberal arts was the basic syllabus in Western -and westernized- educaion for more than a millennium in such a way that results of their training precisely involved to mixing methods. In return, to understand the liberal arts in the light of mixing methods shows new aspects of their historical interest. I study the theoretical basis of this syllabus from Cicero to Alcuin. More important for future research, I conclude that Alcuin’s thesis about the correspondence between the gifts of the Holy Spiritu and the seven liberal arts can be extended to the Aristotelian dianoethics habits and to Dilthey’s 20th-century sciences of mind. (shrink)

This paper deals with beauty as we encounter it in Christian works of art. Three main points are argued: i) Beauty, as it appears in the Christian work of art, is an invitation to delight and gratitude; ii) Beauty, as we encounter it in the Christian work of art, asks of us both the deepening of discernment and the cultivation of desire; iii) Beauty, as it is manifested in the Christian work of art, is not created by the artist but (...) is bestowed as a gift of God. Firstly, beauty must be recognised as giving delight. In defending this claim, the paper argues against theories which identify beauty with pleasure, and which devalue or dismiss beauty based on this false identification. Further, beauty does not only give, but also – as gift – makes a claim upon us. Gratitude is the appropriate response to beauty’s gift. Secondly, beauty as manifested in beautiful particulars embedded in the material and cultural world requires discernment. Moreover, we must embody a real receptiveness to beauty – by becoming beautiful ourselves – through the cultivation of desire. A full response to beauty entails the reorientation of our vision as well as our volition towards the infinite beauty of God. Thirdly, though beauty is manifestly present in made-made objects, it does so and is so as a gift of God. This understanding is supported by emphasising the Trinitarian nature of beauty. It is proposed that beauty is best identified not with the Son but with the Holy Spirit. (shrink)

The Holy Father first invokes the common philosophical distinction between doing and making, which underlies the further distinction, at the level of habit, between a virtue (habitual doing-well) and craft or art (habitual making-well). On the one hand, doing-well--that is, acting in accord with our ultimate end--constitutes our goodness as human persons (our..

In the encounter between the Western and Eastern Cultures in the 20th century, the Chinese Buddhist classic Blue Cliff Record (Biyanlu 《碧巖錄》) was widely translated in Europe, especially in Germany. In the first part, this paper introduces the various German translations as well as their translators’ evaluations and discussions of the book and Chan Buddhism. In the second part, this paper argues that Blue Cliff Record represents a dynamic ontology by interpreting the Highest Meaning. In the third part, this paper (...) will present the self-understanding and freedom addressed in Blue Cliff Record. The paper shows that Chan Buddhism is characterized by its non-duality between convention and holiness and by the self-realization in this world. (shrink)

English summary: 'Metamorphoses of the holy' denotes the changing aesthetic presentation of the sacred which is connected to the creation and institutionalization of religion as art. The focus of the essays in this volume is the structure and dynamic of this process, something which affects all art genres. The sacralization of aesthetic subjectivity is prerequisite to religion as art as evidenced by the belief in the partaking of the sacred through aesthetic experience. On the basis of aesthetic subjectivity's sacralization, it (...) becomes possible to interpret its various forms of expression as witnesses to the holy and award them a fitting reception. These contributions dedicate themselves to an interdisciplinary scrutiny of religion as art and its cross-points of reference with political and civil religion. German description: 'Metamorphosen des Heiligen' bezeichnen hier den Gestaltwandel asthetischer Vergegenwartigung des Heiligen, der sich mit der Entstehung und Institutionalisierung von Kunstreligion verbindet. Im Zentrum der Beitrage des Bandes stehen Struktur und Dynamik dieses Gestaltwandels, der alle Kunstgattungen betrifft. Kunstreligion hat die Sakralisierung der asthetischen Subjektivitat zur Voraussetzung, erkennbar an der Uberzeugung, der Mensch konne durch das Vermogen asthetischer Erfahrung Anteil am Heiligen haben. Auf der Grundlage der Sakralisierung asthetischer Subjektivitat wird es moglich, auch deren verschiedene Ausdrucksformen als Zeugnisse des Heiligen zu deuten und eine entsprechende Rezeption dieser Zeugnisse anzusinnen. Die Beitrage widmen sich der Kunstreligion sowie ihren Interferenzen mit der politischen Religion und der Zivilreligion in interdisziplinarer Perspektive. Mit Beitragen von: Stefan Alkier, Bernd Auerochs, Manuel Bauer, Wolfgang Braungart, Reinhard Brandt, Heinrich Detering, Hermann Deuser, Carola Groppe, Gunter Hantzschel, Joachim Jacob, Markus Kleinert, Dietrich Korsch, Volkhard Krech, Johann Kreuzer, Dorit Messlin, Jurgen Oelkers, Bernhard Schafers, Magnus Schlette, Peter Steinacker. (shrink)