Digest of Hindu codes for the śrāddha rite.

In the philosophy of Confucius, the concept _li_ is both central and elusive. While it is often translated 'ritual' or 'the rites,' I argue that there are numerous significant ways in which _li_ is as much an internal property of individuals as it is an external set of rules or norms. I discuss _li_ as deference, as developed dispositions, as embodied intelligence, and as personalized exemplary conduct. Finally, reflecting on the work of Fingarette, and Hall and Ames, as well (...) as Wilson's analysis of their work, I argue that the external _aspect_ of _li_, although reasonably understood under the rubric of 'traditional norms,' may nonetheless legitimately evolve, and that this coheres well with the notion that an internal sense-of-ritual is integral to the meaning of _li_. (shrink)

The white coat ceremony is a common practice at many American and European medical schools. Current justification for the ceremony is mainly based on the good will felt by participants and an assumed connection between the ceremony and encouraging humanistic values in medicine. Recent critiques of the ceremony faults its use of oaths, premature alignment of students and faculty, and the selective appropriation of meaning to the white coat itself. This paper responds to recent critiques by addressing their misconceptions and (...) arguing that the white coat ceremony is a contemporary medical ritual with a key role for students and faculty in developing a professional identity.Since its inception in 1993, the white coat ceremony has become a national and international phenomenon. It is now practised at the beginning of the year at more than 100 American medical schools and is supported by foundation grants dedicated to endorsing and encouraging professional development and humanism in medicine.1 While some literature addresses the symbolism and history of the white coat itself, few sources consider the meaning of the ceremony.2–4 A common appeal is to the emotion and good will felt at the event.1,5 Although feelings are important, a deeper justification is called for.Criticism of the WCC is more explicit, charging that the ceremony: uses the Hippocratic Oath inappropriately or, at best, prematurely; fosters improper student faculty relationships, and; interprets the meaning of the white coat selectively.6,7 Critics suggest either that students not be asked to swear an oath together because it might conflict with personally held beliefs, or that students not be allowed to take the oath until they have demonstrated competence as physicians.6 Some also say that the WCC aligns students with faculty and against patients.6 The third …. (shrink)

The return of Hephaistos to Olympos, as a myth, concerns the establishment of a balance of power among the Olympian gods. Many visual representations of the myth in Archaic and Classical Greek art give visible form to the same theme, but they do so in a manner entirely distinct from the manner in which it is expressed in literary narratives of the tale. In this paper, I argue that vase-painters incorporated elements of Dionysiac processional ritual into representations of the (...) return of Hephaistos in order to articulate visually the principal theme of the myth. The vase-painters structured the myth along the lines of epiphanic processions in which Dionysos was escorted into the city of Athens. Like Dionysiac epiphanic processions, the procession of Hephaistos, Dionysos and the wine-god's followers is distinguished visually by drunkenness, ostentatious display of the phallus and obscene or insulting behaviour. To judge from the aetiological myths associated with them, the epiphanic processions symbolized the triumph of Dionysos over, and his belated acceptance by, those who denied his status as a god. By structuring the visual representations of the return of Hephaistos along the lines of such Dionysiac processions, artists conveyed visually the idea that the myth al so concerned the triumph of a god over those who rejected him, and his acceptance among the Olympians. It is not necessary to assume that the vase-painters relied on a detailed poetic account of the myth to create their representations of it, because they employed elements of religious spectacle, an inherently visual phenomenon, to convey the essence of the story. (shrink)

This contribution explores the question to what extent religious narratives can move the adherents of religious communities to violence or teach wisdom and compassion, drawing on Ricoeur’s work on narrative, ethics, and biblical interpretation. It lays out Ricoeur’s account of narrative identity, urging him to connect his account of phronesis more fully with his analysis of threefold mimesis in his earlier work. It considers his biblical hermeneutics in light of this work on identity and moral action and suggests that bringing (...) these various dimensions of his work together more fully than he himself does would provide a more substantive account of how identity is shaped in religious contexts. It might on the one hand help us to understand more fully a turn to fundamentalism or religious violence and on the other hand draw more clearly on the phronetic resources within religious traditions, especially as they are expressed in ritual behavior, to combat violence and teach wisdom and compassion. (shrink)

The role of the arts has become crucial to understanding the origins of “modern human behavior,” but continues to be highly controversial as it is not always clear why the arts evolved and persisted. This issue is often addressed by appealing to adaptive biological explanations. However, we will argue that the arts have evolved culturally rather than biologically, exploiting biological adaptations rather than extending them. In order to support this line of inquiry, evidence from a number of disciplines will be (...) presented showing how the relationship between the arts, evolution, and adaptation can be better understood by regarding cultural transmission as an important second inheritance system. This will allow an alternative proposal to be formulated as to the proper place of the arts in human evolution. However, in order for the role of the arts to be fully addressed, the relationship of culture to genes and adaptation will be explored. Based on an assessment of the cognitive, biological, and cultural aspects of the arts, and their close relationship with ritual and associated activities, we will conclude with the null hypothesis that the arts evolved as a necessary but nonfunctional concomitant of other traits that cannot currently be refuted. (shrink)

En este artículo, nos preguntamos si es pertinente un análisis del personaje de Medea de Eurípides, y más concretamente, de su filicidio, a la luz de la doctrina aristotélica de la acción. Resulta dudoso, y quizás equívoco, hablar de "responsabilidad" (en sentido aristotélico) en el caso de la heroína, ya que sus motivaciones, como las de todo héroe trágico, tienen un doble signo: enfrentado a una ἀνάγκη superior, también desea lo que está forzado a hacer. Además, Medea no es una (...) mujer común: es un personaje ontológicamente complejo que participa, más de lo que frecuentemente se ha enfatizado, del plano divino. In this article we wonder if it is pertinent to analyse the character of Euripides' Medea and, more precisely, her filicide, in the light of Aristotle's doctrine of action. With regard to the heroine, it is doubtful and perhaps confusing to talk about "responsibility" (in Aristotelian terms) because her motivations, as all tragic heroes', are two-sided: faced to a superior ἀνάγκη he wants what he is forced to do as well. In addition, Medea is not an ordinary woman: she is an ontologically complex character that has a share in the divine level, a share which is more crucial than what has usually been emphasized. (shrink)

Name der Zeitschrift: Klio Jahrgang: 98 Heft: 1 Seiten: 295-299.

Abstract: It is the aim of this paper to establish a temporal and cultural link between entheogen-use1 in Classical mystery cults and their possible use in a segment of the early Christian Gnostic Church. As early Christianity was heavily influenced by the Classical world in which it first developed, it is essential to examine the evidence of entheogen-use within Classical mystery cults, and explore their possible influence on the development of Christian ritual. We will first present textual evidence from (...) the New Testament and Nag Hammadi Library (NHL) that indicate possible use of ritual entheogens. Next we will examine entheogen-use by some of the main religious sects of the ancient Mediterranean world as part of their liturgical practice between c. fifth century BCE and the third century CE. Then we will show that the different schools of philosophical thought examined were quite fluid, and that there was considerable overlap among schools with respect to several key philosophies and practices. Ultimately the subject of entheogen-use in the Classical world necessarily falls into the realm of plausible speculation mainly due to the lack of primary sources. However, should the entheogenic hypothesis2 prove to be correct, it promises to be quite useful in future research and in the translation of original documents. (shrink)

The ArgumentThe last two plates of Aby Warburg's unpublished picture-atlasMnemosyne, which is thought today to be among Warburg's most innovative contributions to the study of art history, are here analyzed in detail. These plates were assembled in the summer before his death in 1929; they reflect experiences of the time he spent in Rome during 1928 and 1929 and are here understood as Warburg's attempt to visualize his theory of the symbol.TheBilderatlaswas to have a two-fold function: Warburg planned it to (...) be a summary of his life's work; he also wanted its plates to reflect his theory of pictures and images. I argue here that particularly plate 79 is indeed an attempt tovisualizethe theoretical foundation of Warburg's view of the representational function of pictures. It refers to the origin of the power of images in sacrificial rituals and to the limits of this power. Warburg singles out the Eucharist and the doctrine of transsubstantiation to illustrate the role of the symbol in rituals.With this emphasis on ritual as a necessary complement for the functioning of the symbol, Warburg reaffirms his theory of the image to include the social act. This inclusion can be shown to be motivated by contemporary political concerns. (shrink)

Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of (...) the relations between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Neurology of Culture, or How We Move From Rage to Ritual in the Process of HominizationGregory J. Lobo (bio)The most (or rather the only) effective form of reconciliation—that would stop this crisis, and save the community from total self-destruction—is the convergence of all collective anger and rage towards a random victim, a scapegoat, designated by mimetism itself, and unanimously adopted as such.—René Girard, Evolution and Conversion, 64.INTRODUCTIONHow (...) do we move from rage to ritual? How do we become human? The work of René Girard would seem to offer an answer to this question. In this brief essay I want to simply add some evolutionary and neuroscientific details to Girard's theory, which flesh out while also corroborating the basic components of it. [End Page 255]To do this I need to draw a distinction between religion and culture. I mention this from the outset because the main source upon which I draw to represent Girard's thinking is the book Evolution and Conversion. Dialogues on the Origins of Culture, with Pierpaolo Antonello and João Cezar de Castro Rocha, published in 2008. I use this particular source because, as Girard's interlocutors say in their foreword to it, this book "is intended as a reassessment of Things Hidden since the Foundation of the World, 30 years on,"1 and it evidences the "ways in which, over 30 years, mimetic theory has matured, and its fruitfulness become more apparent, even since the initial excitement of Girard's groundbreaking works in the 1970s."2 I highlight my need to distinguish between culture and religion due to the fact that in Evolution and Conversion Antonello and Castro Rocha state forthrightly that for Girard (and, one might presume, for Girardians), culture and religion "amount to the same thing."3 But it is not totally clear that this holds. For as Girard, in the same book, says, "religion, as an institution, comes into being through the scapegoat mechanism."4 Thus, the question arises as to what it is that allows humans to have institutions in the first place. Surely the answer is the capacity for culture as such, understood as the very capacity for symbolic thought, for the manipulation of mental images and their combination into new ones. Hopefully, in the discussion that follows, my insistence on the need to analytically distinguish between culture and religion will be born out. For now, I simply ask the reader to play along. If the reader is game, I can restate my purpose: What is the neurology of culture, such that we can become human, or move from blind rage to deliberate ritual?THE MIMETIC MECHANISMGirard, we should recall, insists that we start "from a purely naturalistic standpoint."5 With this injunction in mind, I will give an account of the "mimetic mechanism," an expression that "describes the whole process, beginning with mimetic desire, which then becomes mimetic rivalry, eventually escalating to the stage of a mimetic crisis and finally ending with the scapegoat resolution"6 that strives for naturalistic representation. Therefore, I will avoid terms like "community" or even "group," which already suggest the existence of something like cultural realities. A naturalistic standpoint, which I take to be a scientific standpoint, must strive to circumvent begging the question by using terms like these, for they refer exactly to the phenomena we are trying to explain: a self-conscious sense of belonging and community. [End Page 256]For those familiar enough with its presuppositions about the human nature that underlies, or is the foundation of, human culture, the mimetic mechanism can be presented in a somewhat straightforward fashion. This presentation relies on Chapter 2 of Evolution and Conversion.The desire of Homo sapiens is in essence mimetic. That is, an individual member of the species desires what its proximal conspecifics—its models—desire. That two conspecifics should desire the same thing leads, inevitably, to two intermediate outcomes. First, the desire for what the other desires intensifies, due to the effects of mimesis; second, this drives the two now mutual models almost inevitably into conflict, as they become doubles. This is conflictual mimesis. The conflict can turn violent and... (shrink)