The present collection of essays is devoted to the Christian philosophy of the most prolific and most speculatively ambitious of the Cambridge Origenists, Henry More. Not only did More revere Origen, whom he extolled as a "holy sage" and "that miracle of the Christian world", but he also developed a philosophical system which hinged upon the Origenian notions of universal divine goodness and libertarian human freedom. Throughout his life, More subscribed to the ancient theology of the pre-existence of (...) souls and took issue with the early modern philosophies of Thomas Hobbes, René Descartes and Baruch de Spinoza. His vision of God's goodness, experienced in his early school years at Eton, became the cornerstone of an Origenist rationalism which envisaged an extended world animated by divine thought and inhabited by self-moving rational agents. More's philosophy is the crowning attainment of the early modern rediscovery of Origen as well as a neglected major rationalist system in its own right which went on to exert decisive influence upon all subsequent western metaphysics. The essays collected in the first part provide a detailed introduction to More's voluminous writings. After a comprehensive general overview of his metaphysical and ethical system, the essays expound More's historical context and his philosophical development from his early poetry in the 1640s to his mature philosophical and theological prose works of the 50s, 60s and 70s. In addition, the reception of More and Origen in the later Cambridge Origenists and in Isaac Newton is outlined. The second part contains several excerpts from More's influential Latin works first translated into English by the editor. (shrink)

The detailed interpretation and translation of Nietzsche’s early Latin odes clearly show that Horace’s lyric poetry has an exemplary function for the development of Nietzsche’s own poetic language. Even in his later works, such as Twilight of the Idols and the Dionysos-Dithyrambs, Nietzsche’s poetic style and rhetorical strategies remain indebted to his early attempts to emulate classical Latin poetry when he was a pupil at the Pforta boarding school.

This paper analyzes the early poetry of Nikolai Klyuev—its social and political motives are studied in the context of the poet’s biography and in terms of the essay Modern Slavery, written by Hugues-Félicité Robert de Lamennais, the French Catholic philosopher and forerunner of social Christianity. This paper identifies two stages in Klyuev’s assimilation of the philosophy of social Christianity. Klyuev’s poetry initially reproduced the main message of Lamennais’s essay—the rejection of “slavery” as a “heritage” by recognizing the (...) human dignity of “today’s slave” and rebelling against the existing socio-historical tradition. In the second stage, the most important categories of Lamennais’s works—brotherhood, cooperation and sacrifice—find their full meaning in Klyuev’s poems. Work “for brethren’s sake” becomes a form of co-operation with God, while experiencing severities and hardships on the revolutionary path is a form of spiritual co-crucifixion with Christ. (shrink)

The problem of the article is based on a long tradition of studying the category ‘antinomy‘ in the history of philosophy from antiquity until the early twentieth century. Antinomical thinking has particular importance for the spiritual life in the 20th century. The author draws attention to the fact that, for example, in the poetry of Thomas Stern Eliot antinomies and paradoxes are of philosophical and religious nature especially in then dealing with questions of reaching the Truth by rational (...) way exclusively. The basic material for studies are the works of modern Russian poets Olesya Nikolaeva, Sergei Kruglov, Timur Kibirov, Olga Sedakova and Helen Schwartz. It is shown how moral and philosophical themes and descriptions of the spiritual lives of the characters associated with the interpretation of ideas of compositions in the form of antinomies. The idea of the influence of the antinomies of thinking on aesthetics and system of images of Russian poets verses is justified. Article reveals the originality of each of the poets whose poems are analyzed in the work. The author concludes that modern poetry gives traditional antinomies personal psychological nature, but at the same time, problems and poetics of paradox are in tune with thinking of twentieth century as a whole - with its disastrous spirit, full of doubt and contradiction. (shrink)

The goal of this article is to understand the concept of poetry in the broad context of Heidegger’s “early” thought, around 1919 and 1930. To that end, we seek to disclose a relation that in Heidegger remains implicit and in the secondary literature absent. This is the relation between poetry and the ways of Being (existence, ready-to-hand, present-at-hand, etc.). Since Heidegger did not explicitly thematize poetry in this broad context, the setup of this article consists of (...) three main steps, in which we make explicit the implicit ontological notion of Heidegger about poetry and, we shall argue, the ontological status of the poeticized. First, we distinguish between the theoretical and the pre-theoretical dimensions of existence, which enable us to explain that for Heidegger poetry is a pre-theoretical letting-see of the various entities that we encounter in the immediate everyday life that is mostly overlooked because of their “self-evident” and “obvious” presence. In this first step we argue that for Heidegger poetry is partially an explicit ontic letting-see. Second, we address the ways of Being in order to secure the systematic horizon for our interpretation regarding the relationship between the ways of Being and poetry. Third, we discuss that an indicative and non-conceptual letting-see of pre-theoretical ways of Being takes place in poetry through the respective poetized entity. In the second and third steps, we exhibit that according to Heidegger poetry results ultimately in an implicit ontological letting-see of the ways of Being. (shrink)

In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian tradition (...) that emphasizes mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production. (shrink)

This article focuses on the role of Christian theodicy in Taras Shevchenko’s works. With a biography marked by trauma and suffering, it is no wonder that Shevchenko orients his poetic worldview in search of understanding the nature of evil and human suffering. Operating through a Christological model, Shevchenko arrives at a poetics based on theodicy, as a means of understanding suffering in the world. He analyses the problem of evil associated with the phenomenology of suffering within the framework of (...) religious ethics. The works of the early period emphasize “truth and revenge,” retribution, and physical punishment over the “malicious” in the spirit of Old Testament dogma. The period of Shevchenko’s exile and subsequent works is characterized by changes in moods. The theodicy of Shevchenko’s works reveals the signs of Christodicy. Shevchenko’s concept of “suffering” is theologically based, as he believes that suffering is the key to conversion to faith. (shrink)

Religion and science dialogues that orbit around rational method, knowledge, and truth are often, though not always, contentious. In this article, I suggest a different cluster of gravitational points around which religion and science dialogues might usefully travel: philosophical anthropology, ethics, and love. I propose seeing morality as a natural outgrowth of the human desire to establish and maintain social bonds so as not to experience the condition of being alone. Humans, of all animals, need to feel loved—defined as a (...) compassionate present-with in dynamic dyadic relation such that one experiences the sense of mattering—but that need has an equally natural tendency to be met by creating biased us-and-them distinctions. A “critical” natural ethics, then, is one in which we become aware of and work to undermine our tendency to reify in-group distinctions between “us” and “them.” Religious communities that work intentionally on this can be seen, to some extent, as laboratories of love—or as sites for co-creating knowledge in perilous times. (shrink)

After he was delivered from the necessity of making provision for the flesh in its concupiscence and after tendering his resignation as a professor of rhetoric, St. Augustine was, in the autumn of 386 a.d., eager to explore his newfound Christian faith and prepare for his reception into the Catholic Church. His conversion, momentous though it was, did not so much entail a repudiation of all that he had learned and studied as it did a transformation of what had (...) brought him to the threshold of religious belief. Chief among the spoils of Augustine’s early education was philosophy, which he understood primarily as an all-encompassing love of wisdom and only secondarily as a confederacy of.. (shrink)

This article argues that theological pacifism is best evaluated when situated in a network of practices, beliefs and biblical reading strategies that support a critique of Empire, and when mapped onto this world open up a space for living that is non-territorial and non-sacrificial, the grammar of which is governed by a political understanding of love.

In lieu of an abstract, here is a brief excerpt of the content:Christian Humanism in the Age of Critical Philology:Ralph Häfner's Gods in ExileMartin MulsowHäfner's book is a monumental study and a milestone of German-language research.1 He delineates, for the first time, a comprehensive picture of the Christian humanism of European philologists in the era of criticism. Recovering an immense wealth of forgotten sources, the book reveals the complex interaction and tension between pagan mythology and Christian culture (...) in philological controversies. Though authors might denounce the pagan histories of gods as fabulae, they were constitutive for the productive and emulative reception of ancient Greco-Roman patterns in Renaissance and Baroque culture. How could the peculiar logic of this paganizing be handled? Was it advisable to have faith in the integrative power of Christian truth, which was capable of finding precursors or even proofs of one's own truth in pagan patterns, or should the pagan be selectively separated from the Christian? And what was the role of philology in this process? Did the growing expertise in criticism advance the process of dissociation of paganism and Christianity? Did it further new possibilities of synthesis in the spirit of Apologetics? [End Page 659]The reconstruction of these processes involves much more than what the book's very specific title suggests. It is a large-scale history of scholarship written from the perspective of the most important tensions that Christian humanism had to overcome in its final stage. From an Anglo-American perspective, this book contributes to recent reconstructions of ideas of early modern men of learning, as well as the growing number of studies on antiquarianism and the history of religion.2 The final stage of Christian humanism, the period of time covered by the book, begins in the late sixteenth century and ends in the 1730s, a point in time which Häfner presents, with some justification, as the end of an era.Hymnology and PolymathyThe study consists of three basic parts. The first one is the "Persistence of Orphic-Platonic Hymnology in Christian Humanism" ("Fortleben der orphisch-platonischen Hymnologie im christlichen Humanismus"). This topic, apparently very specialized and marginal, proves to be a key arena of early modern scholarship, an arena traversed by the battle lines between pagan tradition and Christianity as well as between poetry and theology. Were hymns inspired poetry? What kind of inspiration could and should be conceded to hymns to Jupiter and the sun? Of course, those humanists who reappropriated Orphism and Neo-Platonism were interested in this genre. In the fifteenth and early sixteenth centuries, and even into the mid-sixteenth century, this was not yet a problem. However, the more philological consciousness (and confessionalization) evolved, the more the genre's scope was delimited. What scope remained? Häfner relates the problem to the revival of an "eclectic Platonism" in the wake of the Second Sophistic. This "eclectic Platonism," which was particularly influential from 1500 on, combined Platonism with rhetorics, and the claim of comprehensive polymathy with the joyful presentation of the findings of reading. In this respect, Apuleius and Aulus Gellius were two model authors for early modern polyhistors. We must include Martianus Capella as a continuation of the "Renaissance of the Second Sophistic into Early Christian Encyclopedism" [End Page 660] ("Renaissance der Zweiten Sophistik bis in die frühchristliche Enzyklopädie hinein," p. 18).Häfner's approach is starkly original and, in my opinion, highly productive for the current debates about early modern encyclopedism and "cultures of knowledge" that are sometimes deadlocked.3 Too frequently, polymathy is used synonymously for encyclopedism, which is often associated with modern concepts of systematic classification. Yet, according to Häfner, this is a misunderstanding. It neglects the playful elements and skillful rhetorical options of throwing questions out into the open rather than narrowing them dogmatically. Perhaps the only addition to Häfner's sources could have been Louis de Cressolles's Theatrum veterum Rhetorum, which, according to Marc Fumaroli in L'age de l'éloquence, marked the return of the Second Sophistic.4 The analysis of the work of Gerhard Johannes Vossius, a classical philologist who resided in Leyden and Amsterdam, is the first test for Häfner... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.4 (2001) 533-565 [Access article in PDF] Rome Personified, Rome Epitomized: Representations of Rome in the Poetry of the Early Fifth Century Michael Roberts The last years of the fourth and the beginning of the fifth century (the reigns of Theodosius and his sons) mark a crucial stage in the Christianization of Rome. 1 The hold of the city and all it stood (...) for on the imagination of the ruling classes was as strong as ever. But Theodosian legislation had definitively established the dominance of Christianity in the empire, and even in Rome the aristocracy was becoming progressively more Christian. 2 These changing circumstances find expression in the way Rome was represented in contemporary literature. While still indebted to the traditional language of the laudes Romae and to well-established literary traditions, the authors of the period find new ways to inflect the image of Rome that mirror their differing religious and cultural allegiances.Three poets make the largest contributions to that evolution in the representation of Rome. Claudius Claudianus was born in Alexandria (c. 370) but came to Rome in 394. His first Latin poem celebrated the consuls of 395, Probinus and Olybrius, but thereafter most of his poems served the interests of his patron and the emperor Honorius' chief minister, the Vandal general Stilicho. Of particular importance for the representation of Rome are his consular panegyrics, for the consulships of Honorius (396, 398, and 404) and Stilicho (400), and his two historical epics on the campaigns against the African warlord Gildo (De bello Gildonico 398) and against Alaric in 401-402 (De bello Getico 402). Claudian wrote his last dated poem in 404. Nothing is heard of him after that date and it is likely he died soon thereafter.Claudian's Christian contemporary, Aurelius Prudentius Clemens, was born, according to the verse preface he wrote to his collected works, in 348. After a successful career in the imperial administration, he [End Page 533] withdrew from public life to devote his poetic talents to the service of God. Two works are especially relevant to the representation of Rome, the Contra Symmachum, in two books, completed in 402 or early 403, though book 1 may have been written earlier, and the Peristephanon, a collection of poems on the martyrs, including the Roman martyrs Lawrence (Perist. 2), Hippolytus (Perist. 11), Peter and Paul (Perist. 12), and Agnes (Perist. 14). Peristephanon 9 and 11 refer to a journey the poet took to Rome, generally dated to 401/402, but it is quite possible that this was not his first trip to the capital. 3The third poet, Rutilius Namatianus, a traditionally minded pagan, was praefectus urbi in 414. His poem, the De reditu suo, which does not survive in its entirety, describes his return from Rome to his native Gaul in 417. 4 It is haunted by the destruction caused in northern Italy and Gaul by the recent barbarian invasions, but it begins with an extended paean of praise to Rome, the eternal city, which always grows stronger by its reverses. Rutilius' patriotic devotion to the city and the idea of Rome provides an optimistic counterpoint to the evidence of destruction and desolation that runs as a leitmotif through the poem.Rome figures in the three poets in two guises. It may appear personified as a woman, whose attributes index the power and status of the city and empire as well as the contemporary circumstances of the Roman state. 5 As an alternative to this metaphorical representation of Rome, the city may be encapsulated by certain, especially charged details of topography, in an epitome of its urban geography that stands in a metonymic (or synecdochic) relationship to the city as a whole. Thus, to take an example from a later period, when Paulinus of Pella came at an advanced age to write his life story in the Eucharisticos, he mentions a trip that he took to Rome in the company of his parents in a.d. 379. At the time he was not... (shrink)

In the culture of ancient Greece, the term Paideia (Greek: παιδεία) referred to the upbringing and education of an ideal member of the polis. However, the period from Homer's epic poetry (9th or 8th century BCE) to the Peloponnesian War (5th century BCE) differs notably, concerning the forms of Hellenistic culture after the emergence of Christianity (especially from 2nd to 9th century AD). For that reason, it is necessary to consider what significance Paideia had in different historical periods of (...) Greek culture. In addition, the discussion of Paideia cannot exist in the abstract form of conceptual analysis without taking into account the real historical figures who contributed to the survival of Greek culture in the Roman and early Christian periods. This paper aims to examine the role of Greek culture in the social life of the early Christian Romans. We will try to achieve this through a detailed analysis of the panegyrics (Greek: πανήγυρις). Panegyrics are eulogies that educated pagan thinkers addressed to Roman emperors. Following the panegyrics, we will examine the influence of the Greek tradition on the distribution of the social roles in the upper classes in the Roman Empire. At the same time, by analyzing panegyric, the socio-cultural context of early Rome, and the demands that social betterment placed on pagan thinkers, we will introduce new elements of Christian Paideia concerning her classical predecessor, thus showing what such a transformation essentially entailed. (shrink)

One does not read very far in the second and by far the longest section of Herbert’s The Temple before the single-minded exhortations of the speaker in “The Church Porch” and the early Lenten “complaints” of Christ to his people in “The Sacrifice” turn to the unpredictable elements of the speaker’s human condition: puzzlement, striving, grief, joy. The quick movement between these elements is due not only to Herbert’s poetic sensibility, I argue, but also to his anthropological understanding and (...) his interest in early Christian precedent. I focus on remnants of Prudentius’ 5th-century Psychomachia in Herbert’s poetry and prose and suggest that they open a new vista onto Herbert’s performance of the unsteady dual state of the temple builder, whether poet or reader. (shrink)

This article presents evidence supporting the claim that ethical reasoning is a skill that can be taught and assessed. We propose a working definition of ethical reasoning as 1) the ability to identify, analyze, and weigh moral aspects of a particular situation, and 2) to make decisions that are informed and warranted by the moral investigation. The evidence consists of a description of an ethical reasoning education program—Ethical Reasoning in Action —designed to increase ethical reasoning skills in a variety of (...) situations and areas of life. ERiA is housed at a public, major comprehensive U.S. university—James Madison University—and assessment of the program focuses on interventions delivered prior to and during orientation for incoming first-year students. Findings indicate that the interventions measurably enhance the ability of undergraduate students to reason ethically. ERiA’s competency-targeted program and positive student learning outcomes offers a promising model for higher education ethics programs seeking to connect classroom learning in ethics to decision-making in everyday life. (shrink)

The paper introduces a conceptually important, but previously unknown essay by the Russian poet, theologian and philosopher Aleksey Khomyakov. This essay, “The Slavic and Orthodox Christian Population of Austria,” was discovered in two versions: an original, previously unpublished manuscript and a later anonymous 1845 text. The author reveals an aesthetic function that certain structural elements perform in Khomyakov’s essay, encouraging the interaction between historiosophical ideas and literary creativity. The essay is emphatically philosophical in its style, as its very composition (...) embraces the classic Hegelian triad of “Being—Nothing—Becoming.” This notion overlaps with Khomyakov’s historiosophical idea of the European Slavdom that flourished in the first millennium B.C., and that then lost its sovereignty being under German rule, and finally enjoyed a renaissance in the 19th century. The paper also shows that the distinctive feature of Khomyakov’s poetry is its prophetism. The contrastive analysis was carried out to identify the affinity between the thematic-figurative patterns of Khomyakov’s early poetry and his essay on the Austrian Slavs, which revealed how the poetic thought had been accumulating and what aspect it had taken on within a philosophical and historical discourse. The author of the article puts forward the hypothesis that the difference in depicting Peter the Great in the two versions of Khomyakov’s essay can be attributed to his dispute with Konstantin Aksakov’s poem “To Peter.” This polemic between two fellow-Slavophils was driven by their diverging approaches to the problem of the ethical dilemma of ends and means. (shrink)

I want to argue…that to read Rossetti’s religious poetry with understanding requires a more or less conscious investment in the peculiarities of its Christian orientation, in the social and historical particulars which feed and shape the distinctive features of her work. Because John O. Waller’s relatively recent essay on Rossetti, “Christ’s Second Coming: Christina Rossetti and the Premillenarianist William Dodsworth,” focuses on some of the most important of these particulars, it seems to me one of the most useful (...) pieces of scholarship ever written on the poet. The essay locates the special ground of Rossetti’s religious poetry in that peculiar Adventist and premillenarian context which flourished for about fifty years in mid nineteenth-century culture. In point of historical fact—and it is a historical fact which has enormous significance for the aesthetic character of Rossetti’s poetry—her religious verse is intimately meshed with a number of particular, even peculiar, religious ideas.18 From the vantage of her strongest poetry, the most important of these ideas were allied to a once powerful religious movement which later—toward the end of the century—slipped to a marginal position in English culture.The whole question [of premillenarianism] was overshadowed first and last by the Tractarian Movement, Anglo-Catholicism, and the resulting Protestant reaction. And we can see in retrospect that all through the years [1820-1875] the theological future actually belonged to liberal, or Broad Church, principles. By the middle 1870s, apparently [the issues raised through the premillenarian movement] were no longer very alive.19­­In this context we may begin to understand the decline of Rossetti’s reputation after the late nineteenth century, when she was still regarded as one of the most powerful and important contemporary English poets. Her reputation was established in the 1860s and 1870s, when Adventism reached the apogee of its brief but influential career. Thereafter, the availability of religious poetry was mediated either through the Broad Church line or through the High Church and Anglo-Catholic line . The premillenarian and evangelist enthusiasm which supported Rossetti’s religious poetry had been moved to the periphery of English culture when the canon of such verse began to take shape in the modern period.To read Rossetti’s poetry, then, we have to willingly suspend not only our disbelief in her convictions and ideas but also our belief in those expectations and presuppositions about religious poetry which we have inherited from those two dominant ideological lines—Broad Church and High Church and Anglo-Catholic. Waller has drawn our attention to the general premillenarian content of her work, and I should like to follow his lead by emphasizing another crucial and even more particular doctrinal feature of her poetry. 19. Waller, “Christ’s Second Coming,” p. 477. For a general discussion of millenarianism in the early nineteenth century, see J. E. Harrison, The Second Coming, Popular Millenarianism, 1780-1850 . Jerome J. McGann is the Doris and Henry Dreyfuss Professor of Humanities at the California Institute of Technology. His two most recent books are The Romantic Ideology. A Critical Investigation and A Critique of Modern Textual Criticism . His previous contributions to Critical Inquiry are “Formalism, Savagery, and Care; or, The Function of Criticism Once Again” and “The Meaning of the Ancient Mariner”. (shrink)

In the last years, there has been an increasing interest in the Christian poet Prudentius and his literary technique. This article wants to show that Propertius’s elegy 4.11, the so-called regina elegiarum, is a crucial intertext for Prudentius, Peristephanon 13. Numerous lexical and motivic references to the Propertian text regarding the matrone Cornelia render it plausible that Prudentius wanted his recipients to read his poem about the Carthagian martyr bishop Cyprian while bearing in mind the Propertian intertext. Furthermore, by (...) choosing a rare metre, Prudentius might also allude to a specific Horatian poem (carm. 1.4) as another important intertext. (shrink)

The mid-fourth-century c.e.Cento Vergilianus de laudibus Christi retells the biblical story using cento technique (recombining excerpted lines and partial lines from Virgil into a new poem). Its author, the Christian poet Faltonia Betitia Proba, states that her aim in writing the Cento is to demonstrate that Virgil ‘sang the pious deeds of Christ’ (Vergilium cecinisse … pia munera Christi). Her compositional strategy reflects the exegetical method of typology, as explored in detail by Cullhed: by reusing particular Virgilian verses for (...) biblical characters, Proba creates an implicit typological relationship whereby a Virgilian type both prefigures and is fulfilled by a biblical antitype. This paper first presents an extended model of typology, whereby the type not only prefigures the antitype but also enfigures it, providing the reader with a novel conceptual paradigm through which to understand a particular supernatural reality. The paper then turns to a case study: the baptism scene (380–414), the only passage in the Cento depicting all three members of the Trinity. For each, Proba reuses passages which in the Aeneid describe female characters, hinting at a feminine typological Trinity, one which highlights often-overlooked aspects of the three Christian antitypes. In so doing, she convincingly advances her thesis that Virgil's poetic works reflect typological correspondences to the Christian narrative in a similar way to Old Testament prophecy. (shrink)

What did it mean to keep a secret in early medieval England? It was a period during which the experience of secrecy was intensely bound to the belief that God knew all human secrets, yet the secrets of God remained unknowable to human beings. In Bonds of Secrecy, Benjamin A. Saltzman argues that this double-edged conception of secrecy and divinity profoundly affected the way believers acted and thought as subjects under the law, as the devout within monasteries, and as (...) readers before books. One crucial way it did so was by forming an ethical relationship between the self and the world that was fundamentally different from its modern reflex. Whereas today the bearers of secrets might be judged for the consequences of their reticence or disclosure, Saltzman observes, in the early Middle Ages a person attempting to conceal a secret was judged for believing he or she could conceal it from God. In other words, to attempt to hide from God was to become ensnared in a serious sin, but to hide from the world while deliberately and humbly submitting to God's constant observation was often a hallmark of spiritual virtue. Looking to law codes and religious architecture, hagiographies and riddles, Bonds of Secrecy shows how legal and monastic institutions harnessed the pervasive and complex belief in God's omniscience to produce an intense culture of scrutiny and a radical ethics of secrecy founded on the individual's belief that nothing could be hidden from God. According to Saltzman, this ethics of secrecy not only informed early medieval notions of mental activity and ideas about the mind but also profoundly shaped the practices of literary interpretation in ways that can inform our own contemporary approaches to reading texts from the past. (shrink)

John Macquarrie's Hensley Henson Lectures for 1993-94 delivered at the University of Oxford may serve two different but not mutually exclusive audiences. First, as a brief, concise, reliable, and yet not uncritical survey of Heidegger's thought from Being and Time through his later meditative thinking of Being, this book stands at the top of my list. Following a discussion of Heidegger's career and early writings, Macquarrie devotes two chapters to his major work, Being and Time. He makes it clear (...) that Heidegger was primarily concerned with developing a general ontology, not philosophical anthropology as many persons initially thought. The fourth chapter, entitled "Theology and Metaphysics," focuses in particular on the essay "What Is Metaphysics?" including the later postscript and introduction, Introduction to Metaphysics, and A Letter on Humanism. These works take up some of the issues unfinished in Heidegger's major work and point the way towards a more direct focus on the question of Being itself. Chapter 5 is concerned with Heidegger's reflections on thinghood, technology, and art showing his development beyond the primarily instrumental world of work in his early writings to a much richer, perhaps even spiritual conception of world. In chapter 6 Macquarrie discusses three closely related topics in Heidegger's later work, thinking, language, and poetry. Here we see Heidegger's progression beyond traditional philosophical and metaphysical thinking of Being to what he calls meditative thinking, a kind of thinking and speaking of Being that has much in common with poetic thinking and speaking and an understanding of Being that finds parallels in some western and eastern mystical traditions. For the title of his seventh chapter, Macquarrie chooses the title of the well-known interview with Heidegger, "Only A God Can Save Us," published in Der Spiegel after his death. He is primarily concerned in this chapter with the understanding of Being, theology, and God. Macquarrie delays until his final chapter the discussion of Heidegger's relation to National Socialism which comprises half of the Der Spiegel article. With characteristic balance Macquarrie argues that although Heidegger's conduct at the time should not be excused or glossed over it needs to be seen in the particular historical and political context which he outlines. To this he adds two personal notes based on his experiences with German prisoners following the cessation of hostilities in 1945 and a conversation with Hannah Arendt. The conversation with Hannah Arendt took place at Heathrow Airport on May 19, 1973 where Dr. Arendt was on her way to Europe for her summer holiday. Heidegger had suggested that Edward Robinson and Macquarrie consult with Arendt if they had any special difficulties translating Being and Time, and Macquarrie and she continued to have contacts following the completion of the translation. Their conversation turned to the sales of the translation of Being and Time which had been quite large, and Macquarrie commented that Heidegger must be making a good bit of money from the translation. Arendt replied that Heidegger was not much of a business man and that most of the money went to the publisher. Macquarrie then asked, "Would you say then that it was because he is not a man of affairs that he became so involved with the Nazis in 1933?" "Yes," she said, "quite so.". (shrink)

_A fresh, new translation of Augustine’s fourth work as a Christian convert_ The first four works written by St. Augustine of Hippo after his conversion to Christianity are dialogues that have influenced prominent thinkers from Boethius to Bernard Lonergan. Usually called the Cassiciacum dialogues, these four works are of a high literary and intellectual quality, combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine’s most charming works, (...) exhibiting his whimsical levity and ironic wryness. _Soliloquies_ is the fourth work in this tetralogy. Augustine coined the term “soliloquy” to describe this new form of dialogue. _Soliloquies__,_ a conversation between Augustine and his reason, fuses the dialogue genre and Roman theater, opening with a search for intellectual and moral self-knowledge before converging on the nature of truth and the question of the soul’s immortality. Foley’s volume also includes _On the Immortality of the Soul__,_ which consists of notes for the unfinished portion of the work. (shrink)

Books reviewed in this article:John Barton, The Biblical WorldWalter Brueggemann, Theology of the Old Testament: Testimony, Dispute, AdvocacyBernhard W. Anderson, Contours of Old Testament TheologyJames Barr, The Concept of Biblical Theology: An Old Testament PerspectiveCarl E. Braaten and Robert W. Jenson, Reclaiming the Bible for the ChurchNancy L. deClaissè‐Walford, Reading from th eBeginning: The Shaping of the Hebrew PsalterBirger Gerhardsson, The Reliability of the Gospel TraditionBen Witherington III, New Testament History: A Narrative AccountNeil Richardson, God in the New TestamentJohn S. (...) Kloppenborg Verbin, Excavating Q: The History and Setting of the Sayings GospelFrancis J. Moloney, The Gospel of JohnMartin Hengel and Anna Maria Schwemer, Paul Between Damascus and Antioch. The Unknown YearsF. Gerald Downing, Cynics, Paul and the Pauline Churches: Cynics and Christian Origins IIAnthony C. Thiselton, The First Epistle to the CorinthiansKieran J. O'Mahony, Pauline Persuasion: A Sounding in 2 Corinthians 8‐9C. K. Barrett, A Critical and Exegetical Commentary on the Acts of the Apostles, Volume I: Acts XV–XXVIIApril D. DeConick, Voices of the Mystics: Early Christian Discourse in the Gospels of John and Thomas and Other Ancient Christian LiteratureManlio Simonetti, Ippolito. Contro NoetoCatherine Brown Tkacz, The Key to the Brescia Casket: Typology and the Early Christian ImaginationSerge Lancel, St AugustinePatricia Cox Miller, The Poetry of Thought in Late Antiquity: Essays in Imagination and ReligionThomas Head, Medieval Hagiography: An AnthologyAllan Greer, The Jesuit Relations: Natives and Missionaries in Seventeenth‐Century North AmericaStephen R. Holmes, God of Glory and God of Grace: An Account of the Theology of Jonathan EdwardsStephen Prickett, Narrative, Religion and Science. Fundamentalism versus Irony, 1700–1999Linda Woodhead, Reinventing Christianity: Nineteenth‐Century ContextsFlorent Gaboriau, The Conversion of Edith SteinJeffrey S. Siker, Scripture and Ethics. Twentieth‐Century PortraitsRicherd B. Hays, The Moral Vision of the New Testament. Community, Cross, New CreationJohn Kavanaugh, Who Counts as Persons: Human Identity and the Ethics of KillingJohn Keown, Euthanasia, Ethics and Public Policy: An Argument against LegalisationStephen J. Pope and Charles Hefling, Sic et Non: Encountering ‘Dominus Iesus’J'annine Jobling and Ian Markham, Theological Liberalism, Creative and CriticalHans Küng, Women in ChristianityLynne Broadbent and Alan Brown, Issues in Religious EducationJeremy Waldron, God, Locke, and Equality: Christian Foundations in Locke's Political ThoughtGiles Fraser, Redeeming NietzscheAlexander Garcia Düttman, The Memory of Thought: An Essay on Heidegger and AdornoRobert J. Dostal, The Cambridge Companion to GadamerMichael Fuller, Making Sense of MacIntyre. (shrink)

Books reviewed in this article: The Bible and Postmodern Imagination: Texts Under Negotiation. By Walter Brueggemann. In the Throe of Wonder: Intimations of the Sacred in a Post‐Modern World. By Jerome A. Miller. Interpreting Hebrew Poetry. By David L. Petersen and Kent Harold Richards. Exegetical Dictionary of the New Testament, Volume I: Aαρωυ‐Eυωχ. Edited by Horst Balz and Gerhard Schneiders. The Secretary in the Letters of Paul. By E. Randolph Richards. Revelation. By Wilfrid J. Harrington. Conversion to Christianity: Historical (...) and Anthropological Perspectives on a Great Transformation. Edited by Robert W. Hefner. The Metaphor of God Incarnate. By John Hick. Disputed Questions in Theology and the Philosophy of Religion. By John Hick. The Nature of God. By Gerard J. Hughes. The Animals Issue: Moral Theoy in Practice. By Peter Carruthers. Philosophy and Theology in the Middle Ages. By G. R. Evans. Modalities in Medieval Philosophy. By Simo Knuuttila. Da Descarres a Spinoza: Percorsi della teologia razionale nel seicento. By Maria Emanuela Scribano. Tra Descartes e Bayle: Poiret e la teodicea. By Gianluca Mori. Kierkegaard and the Limits of the Ethical. By Anthony Rudd. Kierkegaard on Art and Communication. Edited by George Pattison. Collected Works of Bernard Lonergan Volume 10: Topics in Education. Edited by Robert M. Doran and Frederick E. Crowe. A Theology of Reconstruction: Nation‐building and Human Rights. By Charles Villa‐Vicencio. Religious Methods and Resources in Bioethics. Edited by Paul F. Camenisch. Theological Developments in Bioethics. Edited by Andrew Lustig et al. Marriage in the Western Church: The Christianization of Marriage During the Patristic and Early Medieval Periods. By Philip L. Reynolds. Marriage in the Early Church. Translated and edited by David G. Hunter. The Clash of Gods: A Reinterpretation of Early Christian Art. By Thomas F. Mathews. A History of Religion in Britain: Practice and Belief from Pre‐Roman Times to the Present. Edited by Sheridan Gilley and W. J. Sheik. The Conversion of Henri IV: Politics, Power and Religious Belief in Early Modern France. By Michael Wolfe. English Polemics at the Spanish Court: Joseph Creswell's ‘Letter to the Ambassador from England’, The English and the Spanish Texts of 1606. Edited by Albert J. Loomie. (shrink)

The authors of this volume elucidate the remarkable role played by religion in the shaping and reshaping of narrative forms in antiquity and late antiquity in a variety of ways. This is particularly evident in ancient Jewish and Christian narrative, which is in the focus of most of the contributions, but also in some “pagan” novels such as that of Heliodorus, which is dealt with as well in the third part of the volume, both in an illuminating comparison with (...) Christian novels and in an inspiring rethinking of Heliodorus's relation to Neoplatonism. All of these essays, from different perspectives, illuminate the interplay between narrative and religion, and show how religious concerns and agendas shaped narrative forms in Judaism and early Christianity. A series of compelling and innovative articles, all based on fresh and often groundbreaking research by eminent specialists, is divided into three large sections: part one deals with ancient Jewish narrative, and part two with ancient Christian narrative, in particular gospels, acts, biographies, and martyrdoms, while part three offers a comparison with “pagan” narrative, and especially the religious novel of Heliodorus, both in terms of social perspectives and in terms of philosophical and religious agendas. Like the essays collected by Marília Futre Pinheiro, Judith Perkins, and Richard Pervo in 2013, which investigate the core role played by narratives in Christian and Jewish self-fashioning in the Roman Empire, the present volume fruitfully bridges the disciplinary gap between classical studies and ancient Jewish and Christian studies, offers new insights, and hopefully opens up new paths of inquiry. Contributions by (in alphabetical order): Cathryn Chew, Mark J. Edwards, Erich Gruen, Vincent Hunink, David Konstan, Karen King, Dennis MacDonald, Laura S. Nasrallah, Judith Perkins, Richard Pervo, Ilaria Ramelli, Lautaro Roig Lanzillotta, Svetla Slaveva-Griffin, and Lawrence Wills. (shrink)

This two-volume work examines far-reaching debates on the concept of courage from Greek antiquity to the Christian and mediaeval periods, as well as the modern era. Volume 1 begins with Homeric poetry and the politics of fearless demi-gods thriving on war. The tales of lion-hearted Heracles, Achilles, and Ulysses, and their tragic fall at the hands of fate, eventually give way to classical views of courage based on competing theories of rational wisdom and truth. Fears of the enemy (...) and anxieties about suffering and death are addressed through the lenses and teachings of medicine, geography, military history, moral philosophy, and metaphysics. For early Christian thinkers, the ethics of fear, fate, and fealty to the Almighty supplant the voice of reason and the wisdom of virtue. Much of Christian doctrine's history is a long journey towards bridging the gap between Greek philosophy and devotion to God and spirits in heaven. Some Church Fathers attempt to dispel the fear of suffering through a joyful craving for martyrdom and the eternal blessings that follow. Others show openness to one or more of the following principles: the abstractions of moral philosophy, the metaphysics of Gnostic enlightenment, the gift of free will and intentionality, the growth of church authority and hegemony, and the intrinsic worth of life on Earth. Augustine, Ambrose, Cassian, and Chrysostom play a central role in revisiting the foundations of Christian fortitude along some or all of these lines. They lay the groundwork for the scholastic adaptations of faith-based rationalism proposed by Peter Lombard, Philip the Chancellor, Albert the Great, and Thomas of Aquinas. The mediaeval period ends with church dissidents and Protestant Reform leaders condemning Rome’s corruption and calling for a return to early Christian faith and the courage of godly fear, submission, suffering, and fate. (shrink)

In Early Christian Ethics in Interaction with Jewish and Greco-Roman Contexts experts from various fields analyze the process of transformation of early Christian ethics because of the ongoing interaction with Jewish, Greco-Roman and ...

This paper will critique the values embedded in the Western classical tradition from a Foucauldian perspective. It will identify issues of power as a central problem for Western culture which is developing into a monoculture in which many people are disempowered. It identifies the role of the dialogic imagination in challenging the dominant culture and how this might inform work with children. It will see a way forward as the valuing of difference, drawing on the work of Martin Buber, Emmanuel (...) Levinas, and Jacques Derrida. It will examine the origins of the hierarchy of the Western classical music tradition in the development of patriarchal values in early Christianity. It will analyze the use of the arts as cultural intervention for personal and cultural re-empowerment, drawing examples from Improvisation Theatre, Carnival, heteroglossia in contemporary poetry and Victor Turner's notion of liminality. It will draw on examples from a variety of art forms and then look at how music might be re-envisioned. It will interrogate a musical event drawing on these strands to encourage children to think outside the cultural conventions and to value difference. (shrink)

_A fresh, new translation of Augustine’s third work as a Christian convert__ "The 'Cassiciacum dialogues'... are of a high literary and intellectual quality, combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine’s most charming works, exhibiting his whimsical levity and ironic wryness."—_Credo__ The first four works written by St. Augustine of Hippo after his conversion to Christianity are dialogues that have influenced prominent thinkers from Boethius to (...) Bernard Lonergan. Usually called the “Cassiciacum dialogues,” these four works are of a high literary and intellectual quality, combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine’s most charming works, exhibiting his whimsical levity and ironic wryness. _On Order_ is the third work in this tetralogy, and it is Augustine’s only work explicitly devoted to theodicy, the reconciliation of Almighty God’s goodness with evil’s existence. In this dialogue, Augustine argues that a certain kind of self-knowledge is the key to unlocking the answers to theodicy’s vexing questions, and he devotes the latter half of the dialogue to an excursus on the liberal arts as disciplines that will help strengthen the mind to know itself and God. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Why music? The Foundations of Music Education from Plato until Today by Øivind VarkøyDaniela BartelsØivind Varkøy, Warum Musik? Zur Begründung des Musikunterrichts von Platon bis heute [Why music? The Foundations of Music Education from Plato until Today], Stefan Gies, trans. with the assistance of Hanne Fossum (Innsbruck, Esslingen, Bern-Belp: Helbling, 2016)Øivind Varkøy's book Why music? was first published in Norway in 1993 and translated into Swedish three years (...) later. In 2016, a newly revised edition was published in German. This review refers to the German edition and a special focus will be on the third chapter, because Varkøy's convincing interpretation of Kant's theory of aesthetic judgement presents a counter narrative to other interpretations of this theory that have been in circulation in North America for quite some time.In the introduction, Varkøy explains that it is his intention to present a diverse array of reasons for teaching music. He also explains why (future) music teachers should reflect on these reasons and the possible values of their professional actions: "A clear stance on the value of one's own work will have a positive effect on one's professional identity and the psychological and physical well-being."1 In the first chapter, he takes the readers back to the world of "the old Greeks"—an [End Page 224] expression that is often used in Europe—and he specifically addresses the values Plato and Aristotle have ascribed to music. The chapter starts with the mythos about mousiké as a gift from the gods and Varkøy explains that this term used to stand for much more than music. It included diverse forms of art such as language, poetry, and dance which were seen as means that can express order and beauty as well as a realization of harmonia which "holds the world together."2 As far as philosophies of music education are concerned, both Plato and Aristotle stress that music education serves the character formation of young people and both are quite strict concerning the way music should be taught to the young. To give an example, Plato rejects that the aulos is used in schools, because it is a woodwind instrument that served as a means of intoxication in rituals. Plato's point was that it would make the youth soft and therefore unable to contribute to the establishment of a 'good' state system. Varkøy stresses that Plato did not differentiate between the aesthetic and the ethical dimension of music, since the term kalokagathia stands for both 'the beautiful' and 'the good.' It almost seems as if Varkøy had the North American debate between the so-called 'aesthetic' and 'praxial educators' in mind when he wrote this chapter, and it is a pity that he does not go into more detail concerning the terms 'the beautiful' and 'the good.' On the other hand, he gives a clear summary of the different functions Aristotle has ascribed to music. He emphasizes that Aristotle mentions the three functions of music as a source of well-being and enjoyment, as a means of character formation, and as an intellectual activity that can lead to a "higher level" of experience.3 In Aristotle's thinking, all of these functions are of value. Concerning the functions and values of music that are discussed, Varkøy abstains from passing his own judgment which leaves a welcome space for one's own thinking.In the second chapter, Varkøy focuses on the functions of music between the time of early Christianity and the time of Comenius. He puts forward an intriguing argument when he states that the Church Father Augustine, who saw the fact that people can enjoy music just for pleasure as a danger, has already pointed to the notion of music as a phenomenon with its own, intrinsic value. At the end of this chapter, Varkøy asks the readers to reflect on Comenius' distinction between "useful" knowledge and knowledge that serves "the way of making one's living."4 He returns to this distinction later on in his book.In the chapter "Progress and Reason," the focus is on... (shrink)

This essay follows the assumption that the first principle of classical metaphysics has its counterpart in political sovereignty as suprema potestas. Therefore, both can be equally described as arché. Their epitome is the God of so-called ontotheology, who thus proves to be what I call the Ur-Arché. In contrast to current post-metaphysical approaches, however, I suggest overcoming ontotheology through a different metaphysics, which emphasizes the self-transcending surplus character of being. I regard early Christian martyrdom as an eminent way (...) in which the surplus of being is manifested. This has two interwoven aspects, one ontological and one political, both arising from the excessive idea of the Christ event, or the notion that there is life beyond life unto death. I will analyse the mechanism allowing early Christian martyrs to counteract Roman imperial sovereignty. Finally, I will relate this to contemporary life systems in which sovereignty has become anonymous biopower. (shrink)

_A fresh, new translation of Augustine’s inaugural work as a Christian convert_ The first four works written by St. Augustine of Hippo after his conversion to Christianity have influenced prominent thinkers from Boethius to Bernard Lonergan. Usually called the Cassiciacum dialogues, these four works are a “literary triumph,” combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine’s most charming works, exhibiting his whimsical levity and ironic wryness. (...) In this first dialogue, Augustine and his interlocutors have retreated to a quiet country villa north of Milan to explore the history and teachings of Academic Skepticism. Augustine is both sympathetic to and critical of the Skeptics, eventually hypothesizing that they could not possibly have believed everything they taught. The dialogue serves as a fitting launch point for a knowledge of God and the soul, the overall subject of the Cassiciacum tetralogy. Michael Foley’s clear, precise and playful translations are accompanied by his brief, illuminating commentaries. (shrink)

_A fresh, new translation of Augustine’s inaugural work as a Christian convert_ The first four works written by St. Augustine of Hippo after his conversion to Christianity are dialogues that have influenced prominent thinkers from Boethius to Bernard Lonergan. Usually called the Cassiciacum dialogues, these four works are a “literary triumph,” combining Ciceronian and neo-Platonic philosophy, Roman comedy and Vergilian poetry, and early Christian theology. They are also, arguably, Augustine’s most charming works, exhibiting his whimsical levity (...) and ironic wryness. In this second, brief dialogue, Augustine and his mother, brother, son, and friends celebrate his thirty-second birthday by having a “feast of words” on the nature of happiness that includes a bittersweet metaphorical birthday cake. Using a process of reasoning that is philosophical as well as theological, Augustine and the group conclude that the truly happy life consists of “having God” through faith, hope, and charity. Michael Foley’s clear, precise and playful translations are accompanied by his brief, illuminating commentaries. (shrink)

It was William Blake's insight that the Christian churches, by inverting the Incarnation and the dialectical vision of Paul, have repressed the body, divided God from creation, substituted judgment for grace, and repudiated imagination, compassion, and the original apocalyptic faith of early Christianity. Blake's prophetic poetry thus contributes to the renewal of Christian ethics by a process of subversion and negation of Christian moral, ecclesiastical, and theological traditions, which are recognized precisely as inversions of Jesus, (...) and therefore as instances of the forms of evil that God-in-Christ overcomes through Incarnation, reversing the Fall. Blake's great epic poems, particularly Milton (1804–08) and Jerusalem (1804–20), embody his heterodox representation of the final coincidence of Christ and Satan through which, at last, all things are made new. (shrink)

Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of (...) Bingen, the author argues that medieval music was quintessentially a practice of the flesh. The book reveals a medieval world in which erotic desire, sexual practice, torture, flagellation, and even death itself resonated with musical significance and meaning. In its insistence on music as an integral part of the material cultures of the Middle Ages, the book presents a revisionist account of an important aspect of premodern European civilization. (shrink)

This paper analyses the early history of David Bohm’s mechanics from the perspective of Ludwik Fleck’s thought-collectives and shows how the thought-style of the scientific community limits the possible modes of thinking and what new possibilities for the construction of a new theory arise if these limits are removed.

The millennial interest in the fable told by Apuleius in The Golden Ass has produced periods of intense preoccupation. Of these uses of the legend none is more interesting, varied, and profound—none possesses greater implications for contemporary life and manners—than the obsessive concern of pre-Romantic and Romantic writers and artists. Hellenistic, Roman, and early Christian culture had produced at least twenty surviving statues of Psyche alone, some seven Christian sarcophagi that used the legend, and a set of (...) mosaics on a Christian ceiling in Rome from the early fourth century;1 and of course to late antiquity belongs the distinction of having produced the seminal telling of the tale by Apuleius in about A. D. 125. But what we possess from that remote time is thin and lacks the power to engage the modern spirit. The allegorizing and erotic responses made in the Renaissance, Mannerist, and Baroque culture produced monuments of painting that the later period cannot rival; but the impregnation of literature by the legend was slight, and the intellectual or moral content was often only a perfunctory and dutiful addendum. The revival of the story in the aesthetic movement of the late Victorians and early moderns has its examples of beauty, particularly in Rodin and in the lush harmonies and occasionally piercing melodies of César Franck's Psyché, a tone poem for chorus and orchestra; but the long retellings by Morris, Bridges, and John Jay Chapman oppress with luxuriant sweetness and remain of interest only as period pieces. · 1. See Elizabeth Hazelton Haight, Apuleius and His Influence , p. 164, and Maxime Collignon, "Essai sur les monuments grecs et romains . . . ," in Bibliothèque des écoles françaises d'Athène et de Rome , fasc. 2, pp. 285-446, esp. pp. 364, 436-38. Jean H. Hagstrum, John C. Shaffer Professor of English and Humanities at Northwestern University, is currently preparing a book on the theme of love in European literature and art from the mid-seventeenth century through the Romantic period. He is the author of books and articles on Blake and Samuel Johnson, and of The Sister Arts, a study of the relations of poetry and painting from antiquity through the eighteenth century. (shrink)

Is poetry a topic for philosophical reflection? This paper seeks to argue that it is by exhibiting poetry as a form of knowledge. What the claim that poetry is a form of knowledge amounts to is that something can be knowledge in virtue of being poetical and poetical in virtue of being the (kind of) knowledge it is. Various kinds of skeptical doubt about this claim are considered. It is argued that such doubts are based on distorting (...) pictures of poetry. Two strategies to justify the claim that poetry is a form of knowledge shall be explored. The first strategy is a broadly Wittgensteinian one, relying on grammatical reminders. The second strategy is a broadly Hegelian one, exhibiting poetry as a form of knowledge by showing that the concepts of two other forms of knowledge – practical and second-person knowledge – due to internal incoherences, point beyond themselves towards the concept of poetry. (shrink)

In this Element the author argues that genre deeply affects how early Christian female philosophers are characterized across different works. The included case studies are three women who feature in both narrative and dialogic texts: Thecla, Macrina the Younger and Monica. Based on these examples, the author demonstrates that the narrative sources tend to eschew secular education, while the dialogic sources are open to displays of secular knowledge. Philosophy was not only seen as a way of life, but (...) sometimes also as a mode of educated argumentation. The author further argues that these female philosophers were held up in their femininity as models for imitation by both women and men. (shrink)