In this dissertation, I will examine the problem of theological fatalism in St. Augustine and, specifically, whether or not Augustine was philosophically justified in his belief that his views on divine grace and human freedom could be harmonized. As is well-known, beginning with his second response To Simplician (ca. 396) and continuing through his works against the semi-Pelagians (ca. 426-429), Augustine espoused the Pauline doctrine of all-inclusive grace: that the fallen will’s ability to accomplish the good is totally a function (...) of God’s elective grace. What, then, does the fallen will do to work out its own salvation? There is the further issue of how to reconcile Augustine’s rather extreme emphasis on grace in his later works with the more balanced picture we receive in his sermones ad populum, written throughout his forty-year preaching career. In many of these sermons, even those written during the Pelagian controversy, Augustine is careful to leave space for both divine and human initiative in the process of our justification within the totus Christus, or ‘whole Christ.’ How we can understand Augustine in his role as doctor gratiae and as preacher of human freedom will be a major inquiry of this dissertation.The most serious obstacle to moving forward on these problems has been and remains the essentialist interpretation of Augustine’s Trinitarian theology by most commentators. On their interpretation, Augustine thought that there were no real distinctions within the Trinity, with each of the three divine persons and their actions sharing in the absolute unity of the divine essence. Holding this interpretation not only does away with the distinctness of each of the persons, but also requires all of God’s different powers and attributes, including willing and foreknowing, to be coalesced into one another without distinction in the divine essence. God’s foreknowledge is thereby identified with God’s will, which necessarily leads to theological fatalism: God would have to will everything that He foreknows, and God would have to foreknow everything that He wills. Since God is omniscient, He wills everything that will happen, including the future willings of the fallen human will.It cannot be denied that there are texts in the Augustinian corpus that seem to point to a reading of the Trinity as absolutely simple. But this study will endeavor to show that there are also other largely overlooked texts in On the Trinity, the Confessions, and his Commentaries on the Literal Interpretation of Genesis (among others) that argue for various distinctions within the Trinity to make sense of the relation between Creator and creature, and the differences between the divine processions of generation/spiration, and the act of creation. These texts will be shown to parallel very closely the position of the Eastern Orthodox Christian tradition, which consistently uses the real distinction between God’s essential being and energetic activities (also known as the essence-energy distinction) to avoid the problem of theological fatalism. This rich theological and philosophical tradition, from the time of the fourth-century Greek Fathers to the Byzantine tradition that followed, differs less with Augustine concerning the essentials of Trinitarian theology and its practical implications for solving the problem of making human freedom and divine grace compatible than has been hitherto thought. (shrink)

According to an important set of medieval arguments, it is impossible to make a distinction between creation and conservation on the assumption of a beginningless universe. The argument is that, on such an assumption, either God is never causally sufficient for the existence of the universe, or, if He is at one time causally sufficient for the existence of the universe, He is at all times causally sufficient for the universe, and occasionalism is true. I defend the claim (...) that these arguments are successful. Since Christian theology requires a distinction between creation and conservation, arguments in favour of the possible eternity of the world fail. (shrink)

The six articles that comprise Book 2, Distinction 1, Question 1 of Aquinas' Writings on the "Sentences" of Peter Lombard represent his earliest and most succinct account of creation. These texts contain the essential Thomistic doctrines on the subject, and are here translated into English for the first time, along with an introduction and analysis. In Article One Aquinas argues, against Manichean dualism, that there is one ultimate cause of all created being; in so doing he gives three proofs (...) for the existence of the Creator and the essential features of his answer to the problem of evil. Thomas establishes his definition of creation in Article Two, providing the needed distinctions between philosophical and theological senses of creation. Emanationism and the problem of whether there can be any intermediary causes in God's act of creation are the subject of Article Three. The next article demonstrates that although God is the cause of all created being, nevertheless creatures are true causes in nature. Article Five argues that it is from revelation alone that we know that the world had a temporal beginning, and that the philosophical arguments that purport to show either the necessity or impossibility of the temporal beginning are not persuasive. A detailed exposition of the meaning of the first sentence of the Bible, "In the beginning God created the heavens and the earth," follows in Article Six. (shrink)

The later Wittgenstein’s approach to philosophical inquiry has influenced a number of philosophers who have reflected on the significance of evil for a Christianview of creation. The strengths and shortcomings of this influence are considered here, with particular attention to the work of D. Z. Phillips. Wittgenstein’s legacyemerges as a decidedly mixed blessing. On the one hand, a sensitive analysis of the religious use of language reveals the anthropomorphic confusion inherent in attempts to depict God as acting, or as (...) failing to act, for morally sufficient reasons. On the other, a sharp distinction between the natural and the spiritual domains, and the opposition to metaphysics with which it is associated, obscure rather than assist the search for understanding. By way of contrast, the paper concludes with a discussion of Simone Weil’s (profoundly metaphysical) conception of Christ’s mediation between creature and Creator; a conception which points the way to a resolution of the intellectual tension to which evil gives rise in the order of creation. (shrink)

In his recent study on ‘The Excessiveness of Christianity’ the K.U. Leuven professor of phi- losophical anthropology Paul Moyaert describes how Christianity is marked with excessiveness in its ethical, religious-metaphysical and mystical self-understanding. Here we deal only with the middle part of the study, on “the incarnation of meaning.” In the first part of our contribution we explore Moyaerts theory of symbol. Moyaert rightly resists both an instrumental reduction of the symbol and an intellectual reduction. But in his search for (...) the own rationality of the symbol, he inclines towards absolutising its meaning, installing an intrinsic relation between the signifier and the signified. Moyaert recognises the role of human intentionality installing a signification in the symbol, but argues that the symbol exceeds that subjective signification with an objective meaning which it brings about itself. He sees an “intimate entanglement of ‘significatio’ and ‘esse’ ” which is at the heart of what he calls a “realism of meaning.” Our argument against this reasoning is that if the symbol bridges the distance between signifier and signified in an objective relationship between both, apart from every signifying human intentionality, then this symbol escapes historicity, and brings about an absolute presence, or the divine, thus becoming what we call the locus onto-theologicus susceptible to unmasking as an idol. Moyaert partly seems to recognize this, but nonetheless defends it as the “surrealistic perspective” from which we must think the symbol. In the second part of our contribution we follow Moyaert in his application of his theory of symbol to sacramental presence, especially the praesentia realis. He replaces the terms “signifier – signified” with their religious equivalents “incarnans – incarnatum,” seeming to assume that they have the same meaning. But this is not an innocent procedure. Whereas in the symbolic the distance between both poles should be held apart in order to avoid idolatry, in the movement of sacramental incarnation God bridges this distance in His becoming present through the historical. The praesentia realisis in the tradition of the Church not the highest possible symbolic presence of God, hence a kind of “praesentia surrealis”, but God’s sacramental presence, pushed to the limit of its historicity, in a manner analogous with Jesus’ being completely one of us and yet also “without sin.” Hence does faith not occur in a perspective of surrealism, but of realism. In our evaluation, we make a plea for a theological nuance of Moyaerts theory of symbol, recognising that a symbol as signifier needs to maintain distance from its signified in order to avoid becoming an idol, and so must also be recognized the historicity of the indeed irreducible otherness of the symbol for the individual. What is distinctive about the sacrament, as opposed to the symbol, is its accomplishment of God’s Mysterious movement bridging the distance between creation and Creator. Without this nuance, Moyaerts position appears to us to fall back into to the ultimate functionalisation of faith which consists in mastering contingency through the symbolic. Indeed, Moyaert is not alone among contemporary philosophers who turn from recognizing the irreducible groundlessness of life to a rediscovery of Christianity as an inspiration for philosophical anthropology which, however, threatens to reduce faith to a kind of post-religious wisdom tradition. In those cases, one suspects that this new sympathy for Christian faith may turn out to be a Trojan horse in the mother of all religious wars, still ongoing between Greek-modern autonomy and Jewish-biblical heteronomy. (shrink)

The traditional view of divine conservation holds that it is simply a continuation of the initial act of creation. In this essay, I defend the continuous-creation tradition against William Lane Craig's criticism that continuous creation fundamentally misconstrues the intuitive distinction between creation and conservation. According to Craig, creation is the unique causal activity of bringing new patient entities into existence, while conservation involves acting upon already existing patient entities to cause their continued existence. I (...) defend continuous creation by challenging Craig's intuitive distinction and by showing that the alternative account of creation and conservation he bases upon it is fraught with serious internal difficulties. (shrink)

This article seeks to show that recent deployments of Augustine’s theology of love as an alternative to, or resource within, contemporary liberalism are typified by attempts to use Christologically-grounded reconsiderations of the relation between the Creator and the creature to respond to the suggestion that Augustine cannot accommodate love of creaturely goods. It then argues that these attempts rest on abstract understandings of divine presence that issue from a breakdown of distinctions between Christology, ecclesiology and the (...) theology of creation. It concludes by suggesting that Augustine’s theology of love is best approached by considering the relation of Augustine’s Christology and pneumatology, for this relation makes a Christologically-conditioned notion of justice constitutive of Christian loving in a way that is generative for consideration of both Augustine’s theology of love and his relation to contemporary liberalism. (shrink)

The Ḥatäta Zärʾa Yaʿǝqob and Ḥatäta Wäldä Həywät are two remarkable works of philosophy that were until recently virtually unknown to philosophers outside Ethiopia. The first is a philosophical autobiography narrated by the eponymous Zärʾa Yaʿǝqob, a scholar from Aksum in northern Ethiopia, exiled from his home country and forced to take refuge in a mountain cave, where he develops a philosophical system that encompasses a metaphysics of creation, an analysis of the relation between the divine and the (...) human, an account of both epistemology and ethics grounded in the faculty of ləbbuna or ‘reason’, and a strident critique of contemporary social norms. The second text is a much longer companion treatise written by his disciple Wäldä Həywät, and develops the arguments and ideas of Zärʾa Yaʿǝqob into a systematic social ethics. These works, essentially unexamined by philosophers before the past decade, have enjoyed a certain notoriety within the field of Ethiopian-Semitic philology, on account of a century-long controversy concerning their authorship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:This review essay has been inspired by Francesco Fiorentino's 2006 study Libertà e contingenza nel pensiero tardomedievale, which provides a detailed analysis and an edition of the 38th distinction of Francis of Meyronnes' 'Conflatus' . As with some of his earlier articles and book-length studies on Gregory of Rimini and other early fourteenth-century figures, Fiorentino grapples in this book with some central theological issues in the decades after Scotus's (...) teachings in Paris, namely the relation between God as omniscient and omnipotent creator and his contingent creation, and the reconciliation between God's foreknowledge and human freedom.There is a general understanding among specialists of late medieval Franciscan thought that the teachings of Scotus at Oxford and Paris had formed a watershed in dealing with these issues, and that most Franciscan theologians after Scotus took his teachings as a major point of departure. Yet the latest research indicates that this did not mean a slavish adherence to the Doctor Subtilis. The detailed studies and editions that are currently appearing show that we are confronted by significant independent masters, able to follow the depths of Scotus's arguments but willing to develop their own stance within the debates of their time.Francis of Meyronnes is without doubt one of the more important Franciscan theologians in this very period. As his name already indicates, he was born in Meyronnes , in a family that maintained close contacts with the Anjou dynasty . Francis joined the Franciscan Order at Digne , and received an education in logic and philosophy before he was allowed to pursue a lectorate course at the Paris studium generale , where he became acquainted with the theology of Scotus.After his studies to become a lector, he taught between 1307 and 1320 as a lecturer's assistant and as a philosophy and theology lector in consecutive assignments in the schools of the custody and in provincial studia in the French and Italian provinces of the Order. He also fulfilled in this period a stint as Custos of the Sisteron custody. Based on his teaching performance, which would have included philosophical teachings as well as a series of lectures on the Sentences of Lombard pro exercitio in the provincial school network, he was allowed to return to Paris to read the Sentences pro gradu between 1320-1322. Immediately following these Sentences lectures, Francis completed the obligatory post-sentential exercises through participation in a number of disputed and quodlibetal questions , in order to become eligible for the magisterium with the licentia ubique docendi. During this period between his Sentences lectures pro gradu and his promotion, he worked towards an edited version of his Sentences commentary and published some of his works on Augustine's De Trinitate, as well as several other texts related to his teaching and disputation activities.Francis was able to build on his family connections with the house of Anjou. This showed for example in his contacts with Elzéar of Sabran, preceptor of King Robert of Naples . Either through Francis's contacts with Elzéar or directly, King Robert obtained a sufficiently high opinion of Francis to sponsor his promotion to the magisterium theologiae. At the King's instigation, Pope John XXII wrote a papal letter to the chancellor of the University of Paris on 24 May 1323, asking him to bestow on Francis "the license to teach everywhere" . Thus, Francis became a magister bullatus. Yet it is a bit unfair to suggest, to quote Francesco Fiorentino, that he received the doctorate "secondo l'uso dell'epoca, senza alcun concorso competitivo." The procedure of.. (shrink)

Nietzsche and Merleau-PontyDepth of Images and the Thought of the Eternal ReturnHere, we analyze the reasons for which it is possible to establish a connection between Nietzsche and Merleau-Ponty – a connection claimed by Merleau-Ponty – based on a “metaphysics” of the Dionysian and the Apollonian. All existence rests upon a cruel and violent depth; and the surface of the “real,” individualities and distinct ideas, is in fact solely constituted by Apollonian images. We show how Nietzsche and Merleau-Ponty surmount (...) the nihilism necessarily induced by this fi rst thesis by affirming the richness of images and their power of inspiration as well as the eternal recurrence of the world of appearances. In a world of images, salvation belongs to those who will know how to recognize images as such in any being and in any idea. No preexisting meaning confines us; each instant must be creative and the maximum amount of meaning will be exalted at the heart of a vivified imagination. But how can we, simultaneously, produce simple images, love and desire their subsequent destruction as well as be a creative genius, instituting and teaching? What is exactly our relationship to the Dionysian depth and to past images? Nietzsche’s position on this matter is ambiguous and, to a certain extent, double. Two tendencies coexist in his thought. On the one hand, we have an exhortation for rupture, for absolutely free creation as well as a condemnation of modern culture which has been invaded and ossified by the bric-a-brac of historical meaning. On the other hand, we have the claim for a heritage, the reference to the models of monumental history and the invocation of an inspiration drawn from nature and the elements. Merleau-Ponty’s solution to escape nihilism avoids such a duality and endeavors to reconcile our status of inheritors and our responsibility as creators. In Nietzsche’s steps, but by founding a renewed doctrine of eternal recurrence, Merleau-Ponty shows us how to become, by one and the same movement, superficial and profound.Nietzsche e Merleau-PontyProfondità delle immagini e pensieri dell’eterno ritornoSi analizzano qui le ragioni per le quali è possibile stabilire un avvicinamento tra Nietzsche e Merleau-Ponty, avvicinamento rivendicato da Merleau-Ponty stesso, a partire dall’idea di una «metafi sica» del dionisiaco e dell’apollineo. Ogni esistenza riposa su un fondo crudele e violento, mentre la superfi cie del «reale», delle individualità e delle idee chiare e distinte è costituita unicamente di immagini apollinee. Mostraremo come Nietzsche e Merleau-Ponty sormontino il nichilismo inevitabilmente connesso a questa prima posizione, affermando la ricchezza e molteplicità di spunti racchiusi in immagini come quella dell’eterno ritorno del mondo delle apparenze. In un mondo di immagini, la salvezza appartiene a coloro che sapranno riconoscere le immagini in quanto tali, in ogni essere e in ogni idea. Nessun senso preesistente ci rinchiude, ogni istante deve essere creatore, e il massimo di senso sarà celebrato in seno a un’immaginazione vivifi cata. Ma come si può al tempo stesso produrre semplici immagini, amare e desiderare la loro distruzione ormai prossima, e proporsi di essere un genio creatore, istituire ed insegnare? Qual è il nostro rapporto con il fondo dionisiaco e con le immagini passate? La posizione di Nietzsche su questo punto è ambigua e, in una certa misura, doppia. Coesistono nel suo pensiero due tendenze: da una parte un’esortazione alla rottura, alla creazione assolutamente libera, e una condanna della cultura moderna, invasa e sclerotizzata dalle anticaglie del senso storico; dall’altra parte la rivendicazione di un’eredità, il riferimento ai modelli della storia monumentale e l’invocazione di un’ispirazione attinta alla natura e agli elementi. La soluzione che Merleau-Ponty elabora, come via di fuga dal nichilismo, evita una tale dualità e si sforza di conciliare il nostro statuto di eredi con la nostra responsabilità di creatori. Seguendo Nietzsche, ma fondando una rinnovata dottrina dell’eterno ritorno, Merleau-Ponty ci mostra come divenire, attraverso un unico movimento, superficiali e profondial tempo stesso. (shrink)

This article endeavours to prove that there were creation myths of human beings or certain things, but there were seldom creation myths of ontological cosmology in ancient China. This will be warranted through the distinction between the concepts of ‘to create’ and ‘to beget’, the distinction between ‘Cosmology I of creationism’ and ‘Cosmology II of begetting’, and the relationship between the One and Many. The only exception is the myth of Nüwa 女娲 as the (...) class='Hi'>creator of human beings, but not the creator of the cosmos. Therefore, in ancient Chinese tradition, there were mainly myths of begetting rather than myths of complete creation in the sense similar to creatio ex nihilo. Contribution: Previous research frequently underscores the profound differences between ‘Cosmology I of creationism’ and ‘Cosmology II of begetting’. Based on the discussion of concepts of ‘to create’ [ zao 造] and ‘to beget’ [ sheng 生], this article argues that, there were mainly myths of begetting rather than myths of complete creation in the sense similar to creatio ex nihilo. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and (...) wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

Abstract.Scientific achievements, especially in contemporary biology, have led and continue to lead to uncertainties for some believers with regard to their understanding of the role of God as the creator. This essay, avoiding philosophical jargon, expounds the stance of Islamic philosophy on this matter and argues that such anxiety and doubt are unfounded. Drawing upon the thousand‐year‐old distinction between two types of cause, real and preparatory, as formulated by Muslim philosophers, the argument demonstrates that seeing biological advances as (...) rivaling God's creation, as traditionally understood in the Abrahamic religions, is a premature judgment based on a faulty conflation. This comes to light most clearly through Mulla Sadra's analysis of causality, the far‐reaching implications of which are briefly mentioned. (shrink)

Hobbes promises to teach philosophers how to imitate God. With this bold claim as its basis, the paper questions the widely accepted view that Hobbes authored an early instance of a modern social science. It focuses on the constraints that Hobbes imposes on the language of philosophical practitioners. He restricts its truth-claims to the closed circle of language; he does not philosophize to describe, model, predict, or mirror empirical reality. He nevertheless makes claims for a useful science, one that can (...) construct a stable commonwealth. The restrictive claims concerning truth and Hobbes 's claim to a practical philosophy are reconciled through an investigation of his distinction between 'a posteriori' and 'a priori' sciences. Hobbes teaches philosophers to imitate God as a creator : as a 're-creator' of divinely produced effects, or by manipulating matter to create things we design ourselves. The science of politics is a priori. It dictates the motions so as to create a well-ordered commonwealth, an artificial man, a creation made in our own image. (shrink)

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

The meaning of the noun 'creation', and the verb 'to create', range from the traditional theological idea of God creating ex nihilo to a more recent sense of the process of artistic conception. This collection of thirteen essays, written by scholars of music, literature, the visual arts, and theology, explores the complicated relationship between medieval rituals and theology, and the development of an idea of human artistic creation, which came to the fore in the sixteenth century. The (...) volume concentrates on the period from the Carolingians to the Counter-Reformation but also includes some twentieth-century musicians. Each essay is dedicated to a particular topic concerned with ritual or artistic beginnings, inventions, harmony and disharmony, as well as representations or celebrations of creation. Central themes include the interplay of the ideas of God as creator, of God acting and recreating in medieval liturgy, of God as artist - the deus artifex of the Pythagorean cosmology, which was occasionally referred to as recently as the early nineteenth century -and, finally, of the homo creator, a concept in which man reflected (and eventually replaced) God in his artistic creativity. This book therefore features new, significant, individual contributions from a range of scholarly disciplines, but, taken as a whole, it also constitutes a complex interdisciplinary study, with large-scale historical constructions. (shrink)

ABSTRACTIn his discussion of David Hume and historical distance, Mark Salber Phillips points out that in the process of distance‐creation there is a distinction between something occurring “within the text” and “outside the text.” In this paper I draw on this distinction and introduce a semantic mechanism that allows a certain distance to be designed within a historical text. This mechanism is highlighted in a view of reference that sees it as indirect . According to the indirect reference (...) view, meaning opens up a space for what might be called historical distance. However, this is not to say that everything with regard to the immediacy and remoteness of this historical distance is analyzable solely in terms of what is happening at the level of the text. In fact, I argue that distance‐effects can be understood only if we also take into account contexts of the writing and reading of history. The semantics of indirect reference allows for distance‐construction, but its span depends on the circumstances governing the creation and reception of historical representation. I conclude with the observation that the view presented here should not be interpreted as disconnecting historical work from past reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Bible, "Creation," and Mimetic TheoryLucien Scubla (bio)I would like to propose and defend three theses that are related to the main theme of creation.First thesis. Although the idea of creation ex nihilo seems to have been suggested by the Bible to some philosophers, it is not a religious theory but a philosophical one. In the book of Genesis, there is no creation in the (...) proper sense of the word.For biblical thought, as for the savage mind, the world is not created, but only put in order by gods or spirits; and, for both of them, this ordering action consists in dividing or separating1 from each other things that already existed (or were potentially present) but were mixed and confused in a primitive chaos, or linked to each other as the organs of an original sacrificial victim: the Purusha (in Vedic religion), the goddess Sedna (among the Inuit people), the larvae (in Aboriginal Australian religion), and so on.In the light of Girardian theory, this means that there are two kinds of cosmic myths: those that describe (in mythical or ritual terms, of course) the founding events starting from the apex of the undifferentiation crisis, and those starting from the killing of the surrogate victim. However, groups of people generally have both kinds of myth. The first book of Genesis belongs to the first; the creation of Eve from the body of Adam, in the second book of Genesis, belongs to the second. Ancient Greek mythology begins with Chaos, and the act of Prometheus sharing an ox with Zeus can be seen, according to Jean-Pierre Vernant, as making a permanent separation between men and gods by means of a sacrificial victim.The second kind of myths are often violent. They show, for example in Australia, the mythical ancestors, the Numbakulla, dividing the larvae with knives. The first kind of myth can take a more academic turn, as we see in 1 Genesis, which is much more civilized than Hesiodic mythology. But both follow the same pattern, going from an undifferentiated world to a more and more differentiated world. [End Page 13]If we try to distinguish the biblical myth from other myths of creation, we might be tempted to focus our attention on an obvious feature. In 1 Genesis, Yahweh appears as the principal agent, the only father of all the things and beings that he produces successively, while in Hesiodic theogony the earth and the sky, who are gods, can generate other gods, and so on. This feature may suggest that the Jewish God is properly creating the world, while Hesiodic cosmogony describes a kind of process of self-organization that, in this regard, resembles our scientific cosmology.But in fact, Yahweh is no more a creator than other gods or spirits who produce all things by dividing a victim whose organs become the various beings existing in the universe. What makes a real difference between the biblical cosmology and the others is rather the fact that, in 1 Genesis, the creating god is a transcendent god, the one true God. In Greek mythology, for example, the earth, the sky, and so on are also gods, whereas in biblical cosmology they are only natural phenomena. Here, the creator and his creatures are not at all of the same kind.In other words, biblical creation rests on an implicit, first and founding separation of God and the world, which is a model for the subsequent separations in which creation consists. By its nature, God is holy, sacred, kadosh, which means separated. And the creation is the image of its creator as soon as it is made of separated things. Here, I think, we are reaching the feature that really makes Genesis distinct from other cosmogonies. Although the biblical text does not take the idea of separation as its explicit topic, because it is not a philosophical treatise but a religious explanation of the world, this idea constitutes its main object, of which it displays the various aspects.I. SeparationAs Leo Strauss has shown, in a lecture delivered in 1957 at University College (Chicago) and published by Nicolas Ruwet in the French journal of... (shrink)

In sound, clear, and relentless argumentation Neville makes the case for God as being-itself. God as being-itself is indeterminate. Neville explores several theories that opt for the determinacy of being-itself and exposes the weaknesses of each. As indeterminate, being-itself is the ontological unity of the various determinations of being, and as such transcends them. This transcendent, indeterminate being-itself effects the unity of the determinations of being by creating them ex nihilo. The book spends some time exploring the structure of the (...) distinction between God and the created world, concluding that that distinction is itself determinate and created. God is not only transcendent for Neville, he is also present. He has some conditional features. However, the emphasis is overwhelmingly on transcendence. Neville rejects Hartshorne and insists that God is not conditioned by the determinations of being. Part II of the book is largely methodological, showing the move from "methodological dialectic" to "constitutive dialectic" in order to demonstrate how knowledge of this God is possible. The third part is an effort to connect religious experience with the constructs of Part I. Neville has one of those welcome styles in which the book offers a running commentary on itself: where it has been, where it is, where it is going, and how its success or failure might be judged. This is an important book, but more for its thoroughness and clarity than for its originality.--S. O. H. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TRINITY AND CREATION IN THE THEOLOGY OF ST. THOMAS AQUINAS DAVID A. WALKER* St. Francis' Church Nottingham, England Preface IT IS BY NO MEANS fortuitous that, in the Summa Theologiae, St. Thomas's treatise concerning 'the procession of divine persons ' is succeeded immediately by the treatise concerning ' the coming forth of creatures from God '. If both the freedom of the creative act and the full consubstantiality (...) of the divine persons are to be safeguarded, then, for St. Thomas, these two types of ' procession ' must be distinguished at all costs. But although distinct, they are also related in St. Thomas's thought. It is with this fundamental relation that we shall be primarily concerned here. Therefore, the question we shall seek to explore in this study concerns the way in which St. Thomas's doctrine of the Trinity determines, informs and impinges upon his theological understanding of the created order. Creation: The ' One God, and the ' Triune God, St. Thomas's celebrated identification of essence and existence in God has important significance for St. Thomas's doctrine of creation. God, according to St. Thomas, is Creator in virtue of his nature or essence-although, of course, this fact in no way undermines the sovereign freedom and contingency of the creative act. Because it is God's nature simply to be, all being or existence outside God is ultimately traceable back to God as its source *The Rev. Dr. David A. Walker was Team Vicar of St. Francis', Clifton, Nottingham at the time of his death in 1989. This paper was given to The Thomist on his behalf by Dr. Brian Marshall of Westminster College, Oxford. 443 444 DAVID A. WALKER and first cause. Therefore, to speak of God as Creator is to speak of God's essence in operation: " Hence creation is God's action by reason of his existence, which is his very nature... " 1 The trinitarian significance of this association of creative activity primarily with the divine essence is far reaching. In so far as the divine essence is common to, and identical in, the persons of the Trinity, St. Thomas can maintain that "creative action is not peculiar to any one Person, but is common to the whole Trinity." 2 Creation, therefore, is an act in which the triune God acts as the one God; in which a trinitarian unity of operation corresponds to a trinitarian unity of being. Consequently, the creative act primarily "has to do with the unity of nature, but not with the distinction of persons." 3 However, as we shall subsequently show, this is not St. Thomas's final word on the matter. In the light of this, it is possible to discern in the theology of St. Thomas a fairly clear distinction between truths pertaining to the unity of the divine essence and truths pertaining to the trinity of divine persons. This, indeed, is the basis for the distinction between the ' one God ' (de Deo uno) and the ' triune God' (de Deo trin:o) which operates in his thought. Indeed, this distinction is evident even in the structural arrangement of the Summa Theologiae itself. This distinction is paralleled and determined by the distinction between divine truths accessible to reason and truths accessible to man exclusively through revelation and faith, i.e., between 'natural' and 'revealed' theology. These two distinctions, furthermore, are paralleled by, and culminate in, a third distinction, namely that between nature and grace. But although there is a definite parallel between these three distinctions, it is only an approximate one and must not be construed as if it were an exact correspondence, i.e., as if the truths 1 la, Q.45, a.6. All quotations from the Summa are from Summa Theologiae, Latin text and English translation, Blackfriars edition, gen. ed. Thomas Gilby, 61 vols. (London: Eyre and Spottiswoode, 1964-81). 2 Ibid. s la, Q.32, a.1. THEOLOGY OF ST. THOMAS AQUINAS 445 pertaining to the one God were exhaustively co-extensive with the spheres of reason and nature, or those relating to the triune God with faith and grace. The fact that reason and nature do not exhaust the realm of truth concerning the one God the... (shrink)

In more general terms, many mediaeval authors—and not only theologians—used the distinction between God's ordered and absolute power to emphasize how, on the one hand, in an 'orderly' way, the realm of nature reflects God's freedom of choice, leading to the existence of a radically contingent order of creation; but also how, on the other hand, in terms of divine absoluteness and in the economy of salvation, God is never bound in his action, which is truly inscrutable and (...) lies above morality.1 The extensive scholarship on this distinction clearly demonstrates how such a question represented a real 'problem' for mediaeval thinkers rather than just a simple theory.2 I am limited to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 489 universe enjoys as an ordered whole. What happens if the model does not present a universal order, as seems to have been the case for the last three centuries? Should we then remove the corresponding perfection from our idea of universe's perfection? Or is there some metaphysical reason for asserting that the universe is an ordered whole, regardless of any particular model? If the latter, it (...) would be interesting to have at least a sketch of how we would arrive at this position. On the whole, certainly, the book provides an invaluable overview of the Thomistic universe for anyone working on Aquinas's cosmology, metaphysics, or even ethics. Blanchette is to be commended for his clear and orderly presentation of the material, especially the many subdivisions within the chapters. The quotations of Thomistic texts are almost all in English, well translated by Banchette himself. The placing of key phrases in Latin within parentheses helps in some measure to overcome the lack of the original text in the footnotes. Finally, the book's selected bibliography as well as its indices (index of names, analytical index, and index of citations) render the book an even more useful tool. The Catholic University ofAmerica Washington, D.C. DAVID M. GALLAGHER Freedom and Creation in Three Traditions. By DAVID B. BURRELL, C.S.C. Notre Dame: University of Notre Dame Press, 1993. Pp. xi + 225. $29.95 (cloth). According to the author, this book, Freedom and Creation in Three Traditions, is a comparative work designed "to illustrate the worth of explicitly tradition-directed inquiry, as well as the fruitfulness of comparative inquires in philosophical theory" (6). In addition, among other things, the author contends that, "because the pressure of comparative perspectives demands that we mine hitherto unsuspected reaches of what we have thought we know," not only the author but also the "traditional disciplines of philosophy and theology may each be enriched by the forays of such inquiry" (6). Specifically, the three traditions to which Burrell is referring are the Jewish, Islamic, and Christian; and, as the title of this book suggests, the central topics of consideration used as the basis for a comparison among these traditions are the respective notions of freedom and creation. In order to achieve his goals, Burrell places his discussion within the general context of the notion of creation, which, as he rightly observes, "is notoriously difficult to classify" (7). In so doing, he divides the work into nine chapters; which he entitles as follows: 1) "The Context: Creation"; 2) "On 490 BOOK REVIEWS Characterizing the Creator"; 3) "On Characterizing Creation"; 4) "On Characterizing the Relation: Jewish, Christian, Muslim"; 5) "God's Acting in the World God Creates"; 6) "Creatures Acting in a Created World"; 7) "On the Relations between the Two Actors"; 8) "Sin and Redemption"; 9) "The God Realized in Renewed Creation." Having placed his discussion within the general context of the notion of creation, Burrell begins his analysis by comparing and contrasting this notion in St. Thomas and Moses Maimonides vis-a-vis the necessitarianism of Aristotle as interpreted by lbn Sina. In so doing, Burrell stresses that what predominates in both Maimonides and Aquinas is a notion of God as a "free originator" of all creation not in relation to an "exegesis of the opening chapters of Genesis" but in relation "to the rest of the Bible and the subsequent tradition of Judaism and Christianity" (12). This "distillation" having been noted, Burrell then examines the distinctive features of the notion of creation as this is influenced by the "faith assertion " of the three respective religious traditions-Jewish, Christian, and Islamic. Within Judaism Burrell finds emphasis placed upon the need to interpret creation against the background of the "covenant" with Israel (19). In Aquinas and Barth he understands this activity to be interpreted against the background of the relation of the Father to His Eternal Word (19-21); and within Islam he finds the regulating theme in the conviction of God's absolute sovereignty vis-a-vis the created order. In chapter 2, Burrell goes into more precise detail regarding the specific ways in which God is characterized as a creator within the... (shrink)

This article treats of the distinction between objects and contents of pulses of consciousness - those minimal temporal sections of James's stream that give veridical or nonveridical consciousness of, or as though of, something, which can be anything perceivable, feelable, imaginable, thinkable, or internally apprehensible. The objects of pulses of consciousness are whatever the pulses mentally apprehend , whatever it is that they, by their occurrence, give awareness of respectively. Their contents are the particular ways in which they mentally (...) apprehend their objects, or would mentally apprehend them in those cases in which their objects do not exist. I argue, inter alia, that not all pulses of consciousness have objects, though James holds that they all possess cognitive content; that centaurs can be neither objects nor contents of consciousness, since they do not, have not, and will not exist; and that some hallucinations whose objects are not physically present have objects anyway, such as a long lost relative or a historical figure. I consider four psychologists' views with which I disagree, views proposing a consciousness without content , a consciousness without objects , a consciousness of phenomenal items in a phenomenal environment , or a consciousness that systematically mistakes its constructed "objects" for their external counterparts. (shrink)

The Sparks of Randomness, Henri Atlan's magnum opus, develops his whole philosophy with a highly impressive display of knowledge, wisdom, depth, rigor, and intellectual and moral vigor. Atlan founds an ethics adapted to the new power over life that modern scientific knowledge has given us. He holds that the results of science cannot ground any ethical or political truth whatsoever, while human creative activity and the conquest of knowledge are a double-edged sword. This first volume, Spermatic Knowledge, begins with the (...) Talmudic tale about the prophet Jeremiah's creation of a golem, or artificial man. Atlan shows that the Jewish tradition does not demonize man for creating and changing living things--a charge often leveled at promoters of advanced technologies, like biologists, who are accused of "playing God." To the contrary, man is depicted as being the co-creator of the world. Although Atlan believes that the fabrication of life "from scratch" will take place in the near future, he posits that this achievement will not really amount to creating life current biology and biotechnologies have demonstrated that there is no absolute distinction between life and non-life, no critical threshold whose crossing would be taboo. He also debunks and demystifies our belief in free will and our conviction, of theological origin, that there would be no possibility for ethics if free will were shown to be an illusion. Throughout, he combines science, religion, and ancient and modern philosophy in unexpected and inspired ways. His radical, uncompromising Spinozism allows him to propose a complete revision of cognitive science and philosophy of mind, while showing that their current impasses stem from remnants of traditional dualism. From his brilliant reflections on time, he also derives exciting considerations for medicine and epidemiology. (shrink)

Insole claims that the Critical Kant is by and large a mere conservationist, transcendental-idealistically modified through the distinction between things in themselves and appearances. ‘Mere conservationism’ is a position within the debate about the interplay of God as the first cause and the created entities as secondary causes and belongs to the doctrine of divine concursus. For Insole, it is by virtue of this mere conservationism with regard to things in themselves as opposed to appearances, that transcendental freedom of (...) man, required in turn for Kant’s moral theory to prevail, can be upheld. I shall be focusing on two points of disagreement. These concern the so-called compatibility question regarding the threats emerging from God to human freedom. In my view, it is doubtful (i) whether, in this regard, Kant really attempted to establish that human freedom in the strong form required can be upheld by subscribing to mere conservationism regarding things in themselves in the manner Insole suggests, and whether Kant is successful in this attempt. Moreover, (ii) it is not obvious that a so-called ‘concurrentist’ view, i.e. a view according to which God’s causal activities with regard to the world exceed creation and conservation, would commit Kant to a compatibilist view in a more conventional sense. (shrink)

In this paper we argue that the problem of the one and the many, as first proposed in the West by Parmenides, can be resolved without recourse to either monism or nominalism by an appeal to distinct though mutually ordered principles of distinction in the realm of material substances, namely that of material individuation, distinction according to form, and supposital distinction. This solution, rooted in St. Thomas Aquinas and St. Albert the Great, maintains that what distinguishes one material substance from (...) any other substance absolutely is the agency of the Divine Intellect. This agency elicits in the created material substance the actuality of the relation of creation, which is the cause or principle that, in inhering in the ens creatum as a property subsisting in it, sustains the material substance in its mode of being as suppositum by formally perfecting its distinction with reference to God the Creator. (shrink)

The Human Mind undertakes two tasks. One is to demonstrate that centuries of debate over how to state correctly the nature of the human mind and its relation to the human body arise from muddled thinking. By attending with care to ordinary, everyday language, this bogus thinking is exposed. The traditional distinction between the human mind and the human body is revealed as misbegotten. For that reason it is to be junked, along with centuries of misguided competing theories. The (...) second task is to draw attention to an alternative distinction we already make in everyday language. It is the distinction between a person and that person’s body. A previously undetected set of arrangements in everyday language is teased into full view to expose the character of a person’s physical and mental capacities. This set of arrangements applies to talk of all human capacities, such as the capacities to think, make a promise, dislike, be annoyed, turn left or reach for a banana. There is one simple pattern or formula that personal capacities have in common. To understand this arrangement in everyday language is to have the key to authentic understanding of the human mind and its place in the universe. (shrink)

In this paper, I propose a comparison between some widely accepted Quinian views and Ludwig Wittgenstein's remarks on the logical and the empirical in On Certainty. While Quine's perspective and Wittgenstein's aare not thorougly dissimilar (so that the question of which influence Wittgenstein's thought might have had on the thought of some contemporary philosopher like Quine is both interesting and relevant), there is at least one important difference between them. I submit that Wittgenstein's view on this crucial distinction (...) are more general but ultimately more plausible than the nowadays popular Quinian view. (shrink)

The heart of Richard Rorty's philosophy is his distinction between the private and the public. In the first part of this paper, I highlight the profound influence that the inherited vocabularies of Romanticism and Moralism have had on Rorty's understanding of both the distinction and the problems he intends to solve with it. I also suggest that Rorty shares with Plato, Kant, and Nietzsche philosophical habits that cause him to treat two importantly different problems as one. Once the moral (...) problem is disentangled from the political, it becomes clear that Rorty's distinction is unnecessary to the former and inadequate for the latter. In the second part of the paper, I argue that Rorty's non-foundationalist pragmatism supports the view that the political problem is best resolved by what I call a democratic mechanism of arbitration. It is the lingering influence of Romanticism and Moralism, I suggest, that is the cause of Rorty's reluctance to embrace fully the political priority of democratic consensus. Finally, I discuss why this analysis of Rorty's liberalism may have implications for the general question of how best to resolve political disputes in pluralist societies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Treatise on Efficacy: Between Western and Chinese ThinkingJeremy E. HenkelA Treatise on Efficacy: Between Western and Chinese Thinking. By François Jullien, translated by Janet Lloyd. Honolulu: University of Hawai'i Press, 2004. Pp. x + 202. $22.00.In A Treatise on Efficacy: Between Western and Chinese Thinking François Jullien argues that the different ways Chinese and Western thinkers have dealt with warfare and diplomacy reflect important (...) differences in how the two cultures understand human action in the world. When Chinese texts such as the Sunzi and the Guiguzi are set up as counterpoints to the Europeans Clausewitz and Machiavelli, Jullien argues that the Aristotelian inheritance of the latter pair is shown to be the cause of their inability to provide clean theories with the consistent predictive power they desired. Chinese strategists, by contrast, meet with no such limitations in the realm of human interaction. The basic difference between Western and Chinese thought that Jullien seeks to demonstrate is that "one constructs a model that is then projected onto the situation, which implies that the situation is momentarily 'frozen.' The other relies on the situation as on a disposition that is known to be constantly evolving" (p. 189; italics in original).Jullien's regular use of the generic terms "Western" and "Chinese" in constructing his comparison will likely give many comparative philosophers pause. But this [End Page 347] need not be a source of worry, as he is careful not to essentialize the two world-views. While he is pointing out patterns and tendencies in the thinking of Europe and China, he is not positing an essential incommensurable difference between them. Rather, he is pointing out that "what remains underdeveloped in the one context is more developed in the other" (p. 145). He goes on to say, "The purpose of our foray into China is not to imagine-let alone fabricate-other 'mentalities'.... It is simply to make use of other possible sources of intelligibility" (ibid.).Jullien begins by showing that Western thought regards human action as something that imposes itself on the world in order to bring about a predetermined goal. This is a natural consequence of the belief that the world is created: belief in creation implies something existing outside that creation, thus an intention behind that creation, and thus a transcendent norm toward which things within that creation aim. This two-leveled ontology of creator and creation yields a distinction between theory and practice, wherein practice always aims-and ultimately fails-at implementing an ideal that is established by theory. This worldview has led to demonstrable success in the sciences but meets with frequent frustration in the arena of human interaction. This limitation has been recognized by strategists in the West but has never been successfully resolved.Aristotle was the first to identify and try to resolve this problem. He posited phronesis as the skill that enables an individual to apply a model to the world successfully. For Aristotle such successful action consists of first identifying one's desired end and then reasoning back to one's present situation in order to establish the best means to achieve that end. Jullien's analysis shows that Clausewitz was working with the same model more than two thousand years later. Clausewitz believed that earlier attempts at creating a general theory of warfare had failed to achieve their goal-namely, to provide a model of warfare that a general could use to ensure victory-because the opponent's actions are unpredictable. The system that the military strategist is dealing with, then, is not mechanistic, and consequently plans are easily frustrated by ever-changing circumstances. But Clausewitz was unable to conceive of strategy as based on anything other than plans.For Clausewitz, warfare is composed of distinct engagements, separate moments in time where an army seeks to impose a plan on the world. Seeing warfare as composed of distinct moments means that time is an opponent, for time brings with it change and uncertainty and thus a greater chance that one's plans will be frustrated. Opportunity, then, is something unexpected-a chance happening at a specific moment that can be taken advantage of only... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cross and Creation: A Theological Introduction to Origen of Alexandria by Mark E. TherrienJean-Paul JugeCross and Creation: A Theological Introduction to Origen of Alexandria by Mark E. Therrien (Washington, DC: Catholic University of America Press, 2022), xxii + 303 pp.Although Origen of Alexandria has been misrepresented and maligned since his own lifetime, allies have always arisen to defend him in his stead. Especially after the French (...) Catholic reappraisal of Origen's theology in the twentieth century, the once-dominant interpretation of Origen as a Platonist dressed in Christian garb no longer holds sway among most scholars. As Mark Therrien notes, however, traces of a "metaphysical reductionist" interpretation of Origen, propounded most notably by Adolf [End Page 295] von Harnack, still influences Origenian scholarship (89). Therrien's book vigorously opposes this line of interpretation and provides a rereading of crucial passages in Origen's On First Principles (Peri archōn) and his Commentary on John. In addition to presenting a fresh interpretation of these texts, Therrien also offers an introduction for those who are encountering Origen's theology for the first time. Rather than prefacing with biographical remarks, this book dives straight into Origen's major theological texts, allowing the reader, as Henri de Lubac put it, "to see Origen at work."Therrien operates under the principle that Origen is above all a biblical theologian whose speculation is driven primarily by his commitment to exegesis rather than Platonic presuppositions. Thus, his reading of various controversial excerpts of Origen, particularly from the Peri archōn, pays close attention to the biblical verses that Origen cites, which operate not as mere ornamentation but as the indispensable mechanics of his theology.This book is divided into eight chapters, each of which presents a "fundamental pillar" of Origen's thought: God, Christ, the Holy Spirit, eschatology the soul, the world, the Cross, and deification. Drawing attention to the first two cycles that comprise Origen's Peri archōn, Therrien treats the first cycle as authoritative to Origen's system, since it is here that Origen presents the Church's teaching in a more dogmatic form prior to the zetetic approach of the second cycle. Chapter 1 highlights the anti-Valentinian polemic that contextualizes Origen's account of divine incorporeality and the possibility of genuine knowledge of God. Following the insights of Cyril O'Regan, Therrien notes that an extreme apophaticism led the Valentinian Gnostics to "assimilat[e] God to creaturely categories," as seen in their account of various deities emanating from God as if by a material transfer of substance (36). For Origen, only the Father, the Son, and the Holy Spirit are absolutely incorporeal, and it is their absolute incorporeality that separates the Trinity from all creatures. Despite this fundamental distinction between the Trinity and creation, Origen affirms that a limited knowledge of God is possible for rational creatures with the caveat that, whenever God is likened analogically to a created reality, the dissimilarity is always greater (38). Therrien contends that, unlike the Gnostics, Origen envisions the material world as the positive and even necessary means for creatures to derive knowledge of God.Chapter 2 focuses on Origen's Christology, especially the primacy of Christ's title "Wisdom," which the author accounts for by explaining the logic behind Origen's exegesis of John's Prologue and Prov 8:22. Long before the Arian controversy of the fourth century, Origen insisted that God is eternally Father and thus generates the Son from all eternity. Origen has often been characterized, however, as arguing that God's eternal status as Creator [End Page 296] necessarily entails the existence of creation ab aeterno. Therrien points out that such a reading conflates Origen's two distinct notions of creation: the foreknown existence of creatures as "sketched and prefigured" in Wisdom from all eternity and the concrete, substantial existence of creatures that begins in time (60). The investigation of Origen's pneumatology in chapter 3 shows how Ps 103 (in the Septuagint) informs Origen's notion of the Holy Spirit as Creator. For Origen, creation is not simply a past event, but is instead a dynamic process: "Created beings must, so to... (shrink)

All the medical and bioethical questions, ranging from stem cell research to converging technologies and synthetic biology, touch on the question regarding the image of human beings and their position in the cosmos, by which we are able to orient ourselves. This article argues that the biblical belief in creation and the discourse about humans as created beings by and in the image of God can still be proclaimed as a viable form of human self-interpretation in the present. The (...) distinction between practical knowledge and knowledge of orientation may be of help here. Guidance for how to live and act is not best found in abstract principles, but rather in meaningful stories, in metaphors and symbols. On this level, too, is also where faith in creation and the certainty of our own creatureliness is located. Contribution: This article interprets the doctrine of creation by a hermeneutical theology. It analyses the interdependence between hermeneutics and criticism in the process of reinterpreting the classical propositions about the human being and the world as God’s creation and the relation of anthropology and ethics. The aim is to show what might be the contribution of Christian faith in creation to the approach of an ethics of responsibility in the field of bioethics and ecology. The specific contribution of this article to current debates on an ethics of creation is the thesis that the key to a well-balanced theological approach to all this is the Pauline doctrine of justification as interpreted by the protestant reformers. (shrink)

Plato's chora as developed in the Timaeus is a creative matrix in which things arise and stand out in response to the lure of the Good. Chora is paired with the Good, its polar opposite; both are "beyond being" and the metaphors hitherto thought to disclose the transcendent. They underlie Plato's distinction of a procreative gap between being and becoming. The chiasmus between the Good and chora makes possible their mutual participation in one another. This gap makes possible (...) both phenomenological and cosmological interpretations of Plato. Metaphor is restricted to beings as they appear in this gap through the crossing of metaphor's terms, terms that dwell with, rather than subulate, one another. Hermeneutically, through its "is" we can see something being engendered or determined by that crossing. Bigger's larger goal is to align the primacy of the Good in Plato and Christian Neoplatonism with the creator God of Genesis and the God of love in the New Testament. (shrink)

One of the most important and most frequently discussed theological problems related to cosmology is the creation problem. Unfortunately, it is usually considered in a context of a rather simplistic understanding of the initial singularity (often referred to as the Big Bang). This review of the initial singularity problem considers its evolution in twentieth‐century cosmology and develops methodological rules of its theological (and philosophical) interpretations. The recent work on the “noncommutative structure of singularities” suggests that on the fundamental level (...) (below the Planck's scale) the concepts of space, time, and localization are meaningless and that there is no distinction between singular and nonsingular states of the universe. In spite of the fact that at this level there is no time, one can meaningfully speak about dynamics, albeit in a generalized sense. Space, time, and singularities appear only in the transition process to the macroscopic physics. This idea, explored here in more detail, clearly favors an atemporal understanding of creation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Between God and the President: Literature and Censorship in North AfricaHafid Gafaiti (bio)Assassination is the extreme form of censorship.—George Bernard ShawThose who fight with the pen will perish by the sword.—Slogan of the Algerian Muslim fundamentalistsIf you speak up, you die. If you don’t speak up, you die. So, speak up and die!—Tahar Djaout, the first writer assassinated in the context of the current Algerian political crisisIn the (...) West, censorship has been understood for the most part as the state’s control over cultural production. Many critics in the postwar period, however, have argued that other forms of censorship, such as market censorship, are comparable to the actions of the state. The Christian right’s attacks on art in the United States in the 1980s and early 1990s together with Congressional moves to disempower and dismantle the NEA have generated a new set of debates about censorship in this country. It was understood that the extreme right sought to repress cultural productions carrying a message of ethnic and sexual difference, targeting the works by rappers, the photographer Mapplethorpe, Madonna’s music videos, and so on. The right provided rhetoric to support the privatization of public space, the control of language and public images, and the promotion of “safe” art.While many critics refer to this as the “new censorship,” structurally it is exactly the same as the “old” censorship, that is, state control intervening in the liberal subject’s absolute right to free expression. It appears that the dichotomy between the left’s claim for the absolute freedom of the artist and the right’s attempt to repress it is most often conceived in moral terms and is paradigmatic of the Western liberal oppositional categories used to describe censorship.This position views the relationship between art and censorship as either a bourgeois romantic opposition to political order or a corrupt collaboration by opportunistic apparatchiks. It leaves no room for what Michael Holquist, for example, calls “negotiation.” Moreover, it does not take into account the fact that—in Third World or socialist contexts, for example—the way certain intellectuals view their role vis-à-vis the state, society, and/or the people determines their degree of cooperation with censorship mechanisms.The problem with this Manichean vision is that it implies a notion of censorship that is ahistorical: it posits that there is an essential distinction between the censor and the [End Page 59] creator or free mind. On the one hand, as Miklos Haraszti accurately outlines, at least until very recently in the Eastern European context:Censorship is no longer a matter of simple state intervention. A new aesthetic culture has emerged in which censors and artists alike are entangled in a mutual embrace. Nor is it as distasteful as traditional critics of censorship imagine. The state is able to domesticate the artist because the artist has already made the state his home.[5]On the other hand, as Richard Burt rightly suggests:What counts as censorship is not always clear. Indeed, it is hard to see how one could call many contemporary cases censorship without either seriously distorting the traditional understanding of the term or redefining it to include so many practices—ranging from institutional regulation of free expression, market censorship, cutbacks in government funding for controversial art, boycotts, lawsuits, and marginalization and exclusion of artists based on their gender or race to “political correctness” in the university and the media—that the term is overwhelmed, even trivialized, its usefulness as a tool of cultural criticism called into question.[xiii]Recent events, not only in the United States but also in other parts of the world such as Algeria, the case on which I will concentrate, show that one cannot seriously conceive the question of censorship along the lines of closed, distinct, conceptual categories expressing absolute oppositions. In other words, it is necessary to take the concept of censorship out of the realm of morality and locate it in the world of history, to displace it from the framework of philosophy and move it to the context of culture.In this essay, I will analyze the exercise of censorship in Algeria in... (shrink)

Concerning the connection between God and the created realm, it is maintained that God in himself is independent of the created realm and that the created realm is wholly dependent upon God. This distinction is explicated in trinitarian terms, identifying God as source with the Father, the created realm as dependent with the Son, and the power of creation with the Holy Spirit. Although in himself entirely vague with respect to intelligible determinations, God in the context of (...) class='Hi'>creation is intelligible as the trinitarian Persons, and even can be experienced as such. Experience, analogy and dialectic are all essential to the knowledge of God as creator. Furthermore, that the created realm depends wholly upon God insures it the integrity of its own nature, for its integrity consists simply in its having the nature it has; for it to lose its integrity would be for it to cease to be, and what is not cannot suffer loss. ;The second problem with regard to the nature of creation concerns how it takes place, and a theory of contraction is put forward. It is then argued that the determinations of being themselves presuppose a common source of the nature of God as previously discussed. ;With regard to the nature of creation, the first problem concerns the kinds of being that would distinguish the creator from what he creates. It is argued that if the kinds of being are only analogically related qua kinds of being, there could be no knowledge of a connection between them; hence, a univocal sense of being is sought. To steer between the doctrine on the one hand that being in its univocal sense is ens commune, which would leave the specific determinations of being without an account, and the doctrine on the other hand that it is ens perfectissimum, which would allow the comprehensive category of being no meaningful contrast, the following theory is advanced. Being in its univocal sense is characterized as the indeterminate common source of all determinations of being. As source, it accounts for the determinations; as common, it is univocal to all things which are as that which stands them off against absolute non-being; and as indeterminate in itself, it needs no contrast term which would also have to be. Being is intelligibly contrasted with absolute non-being, not in virtue of its essential determinations, but in virtue of its relation as creator to the determinations of being. God is primarily identified with the source of the determinations, and the created realm is said to include all the determinations of being. ;The problems of divine creation cluster around two main issues: the nature of creation and the connection it entails between God and the created realm. (shrink)

In 1616, the Holy Congregation for the Index prohibited the printing and reading of Copernicus’s On the Revolutions of the Heavenly Spheres on the grounds that heliocentrism contradicted the Holy Scriptures. According to Johannes Kepler, “To study the heavens is to know God as creator.” Moreover, “Since we astronomers are priests of the highest God in regard to the book of nature, it befits us to be thoughtful, not of the glory of our minds, but rather, above else, of (...) the glory of God.” There is some precedent for such claims in John Calvin’s conception of the creation as a “Theatre of God’s glory” with its corollary of the so-called “two books”. Kepler’s defence of Copernican heliocentrism relies upon the distinction between the Book of Nature from the Book of Scripture. Building upon the soteriological foundations laid by Martin Luther, Kepler the astronomer-theologian also seeks to sharpen the distinction between a “visible” and an “invisible” heaven, with significant consequences for astronomical physics. The new astronomy is profoundly implicated in sixteenth-century theological controversies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward an East–West Ultramontane Polyphony:On Dogma, Ecclesial Unity, and the FilioqueThomas Joseph White O.P.The book that the contributors to this symposium have commented upon with graciousness and remarkable intellectual acuity is a work consisting of four parts. There are four main claims to the book associated with these four parts, each of which is divided into sub-themes. Thus, one can denote a number of inevitably controversial ideas advanced by (...) the book. In clarifying the nature of these claims, I can initially respond to some of the main points advanced by various of the helpful review essays in this symposium.Framing the Argument of the BookThe first part of the work posits that there is a fundamental developmental continuity between Old and New Testament revelation, wherein God is revealed first to Israel as the one Creator, and subsequently in Jesus Christ as three distinct persons, the eternal Father, Son, and Holy Spirit.1 This revelation is in turn received in the pre-Nicene era of the early Church, principally under a twofold conceptual format, according firstly to a model of God as a single transcendent subject of wisdom who sends his Word into the world in human nature, and inspires the prophets by his Spirit (the apologists' monotheistic model, exemplified by Justin Martyr) and, secondly, to [End Page 569] a model of economic Trinitarian activity, of the Father, Son and Spirit, who are each divine and one in being, active in sacred history (Irenaeus).2 Nicene Trinitarian authors sought in various ways to find a deeper concordance of the two approaches, one of which emphasized more the immanent unity of God (potentially tending toward a danger of Sabellianism) and the other of which emphasized real distinction of persons active in the economy (potentially tending toward the danger of subordinationism).3 Pro-Nicene figures like Athanasius, Gregory of Nazianzus, and Augustine, among others, paved the way for a mature doctrine of immanent Trinitarian life, in which God was understood to be characterized, mysteriously, by eternal processions of the Word and the Spirit who originate from the Father, and receive from him the plenitude of their deity or divine nature, and thus are equally and identically the one God.4 God is mysteriously three persons who are truly one both in essence and being.The second part of the book is concerned with the theological exploration of what it means to speak of God as one, and of the divine nature of God. This determination of Christian theological wisdom stems from a threefold exigency: first, to uncover the inner unity of revelation itself, as indeed the Israelite revelation of the divine unity and the oneness of God the transcendent Creator is thematic to both Testaments;5 second, to consider the preconditions of Nicene orthodoxy, as indeed the claim that the three persons in God are one in essence or nature presupposes that there is a nature of God that is one common to the three persons;6 third, to consider what must be said about the inner life of God as truth and love, as a precondition for thinking about the processional life of the Word and Spirit, who are immanent distinct persons in God who receive and possess this fullness of life but who do not divide this one eternal life in God or cause it to evolve due to their relational proceeding.7I argue that a consideration of God's nature as simple, perfect, good, eternal, immutable, and so forth is essential to any theology that takes the biblical revelation of the unity and transcendence of God seriously, and therefore confesses the revelation of the Trinity integrally.8 Furthermore, regarding [End Page 570] the apophatic contours of this form of reflection, I hold that it is precisely in order to guarantee the kind of circumspect avoidance of "non-biblical speculation" about positive knowledge of God outside of Christ that it is necessary to qualify rightly how God is not identifiable with creation and thus remains unknown in his inner divine nature and eternal life apart from and outside of his divine self-disclosure in the revelation of the Old and New Testaments. Philosophical... (shrink)

This is a powerful and learned meditation on Christianity by a senior Irish theologian, and the main reason it should be noticed in a journal of philosophy is that James Mackey conceives theology as fundamentally philosophical in the way it reflects on and develops our ideas about the sources and nature of being and conduct as they have been articulated in myth, symbol and poetry, as well as more abstractly in metaphysics. On this view the philosophical aspect of theology is (...) displayed no less in the scrutiny and interpretation of that myth, symbol and poetry than in the more narrowly focussed field of natural theology as this has come to be practised by recent analytic philosophers—a field, indeed, which might well be thought, on the evidence of this book, to depend upon and be undermined by an uncritical reception of discredited readings of the imagery of the creation myth . It is appropriate—and something of a relief—that in his nuanced and compelling reflections on that myth Mackey's philosophical temper leads him to stress the importance of the creative imagination, particularly that of the poet, who is ‘the seer, the prophet, the visionary, who sees so deeply into the fabric of reality that the ways of the Creator with creation are revealed in the ensuing poetry, and with a power and a clarity seldom equalled in other forms’ . Indeed he opens his chapter on Creation by highlighting the importance of the metaphors and imagery which are to be his theme and by which myth is constituted and ‘reality’ mediated. He refers to them as ‘configurations through which reality first rewards the attentive, or more precisely the contemplative mind’ and remarks that at its outer limit ‘imagination … ends up by telling a cosmic story, resulting in nothing less than a cosmic myth’ . One important implication of this fertile approach is that it also requires engagement with a question about the nature of the relationship between myth and metaphysics: after all, some philosophers still incline to the view that metaphysics underwrites and validates what the poet ‘sees’. However, it provokes another question, which is at least as important, about the status of theism as itself perhaps ‘a cosmic myth’. What kind of ‘reality’ is revealed by the poet? Are ‘the ways of the Creator with his creation’ the reality whose nature is revealed by the poet? Or is it, rather, that ‘the ways of the Creator with his creation’ are part of a particular configuration of images by which the poets widen our perceptions and articulate their wonder at the world of creative forces in the form of story-telling, both mythopoeic and metaphysical. (shrink)

Like Prometheus, Ayn Rand's heroes would seem valuable much less for what they do for themselves, than for others. I argue, first, however, that the ethical scheme implied by her treatment of these figures is properly classed as neither "egoist" nor "altruist,"for the value invested by the creator in his creation eludes both views. A more satisfactory Randian ethic of creation, it becomes clear, must involve a distinction between Nietzschean "self-reverence" versus mere "self-interest" and, much more (...) substantially, Aristotle's distinction between those in whom "self-love" is good and those in whom it is not. (shrink)

Ingarden’s phenomenology of aesthetics is characterised primarily as a realist ontological approach which is secondarily concerned with acts of consciousness. This approach leads to a stark contrast between spatiotemporal objects and literary objects. Ontologically, the former is autonomous, totally determined, and in possession of infinite attributes, whilst the latter is a heteronomous intentional object that has only limited determinations and infinitely many “spots of indeterminacy.” Although spots of indeterminacy are often discussed, the role they play in contrasting the real (...) and literary object is not often disputed. Through a close reading of Ingarden’s ontological works and texts on aesthetics, this essay contests the purity of Ingarden’s ontological approach and the ensuing disparity between real and literary object, particularly on the question of spots of indeterminacy. I do this by demonstrating the following five theses: 1) Ingarden’s claim that the real object has an infinitude of properties belies an epistemology, and we should instead conclude that ontologically the real object’s properties are finite. 2) Ingarden’s a priori argument that absent properties of real objects are ontologically determined is unsound. 3) The radical difference between the infinitude and finitude of givenness and absence of the real and the literary object ought to be relativised. 4) Indeterminacies within the novel are concretised in much the same way that absent properties of real objects are intended. 5) Literature makes claims that have a truth value that we can attribute to their author. (shrink)

Corporate activities conducted under the banner of creating shared value (CSV) have gained popularity over the last decade, and some MNCs have espoused that CSV has entered the heart of their practices. There has, however, been criticism about the lack of a standard definition of CSV. The purpose of the current study was to develop a working definition of CSV by identifying distinctions between CSV and various conceptions of corporate social responsibility (CSR). We conducted 26 semi-structured interviews with (...) managers and stakeholder representatives of five multinational corporations (MNCs) and three small and medium enterprises (SMEs), all headquartered or rooted in Asia. These firms had received public recognition for their CSV engagement. We compared and contrasted interviewees’ conceptions and descriptions of CSV and traditional CSR (philanthropy) and mapped these against Carroll’s four-layer model of responsible corporate management. Interviewees tended to frame CSV as a sustainable business model that generates social and economic value simultaneously. Traditional CSR was characterized as “giving back” some of the surplus from economic returns. In addition, interviewees described examples of strategic CSR, which involved pump-priming interventions for empowering and enabling stakeholders of the CSV practices of the focal firm to participate in the associated wealth and well-being co-creation. Keywords: Corporate social responsibility, creating shared value, qualitative, Asia. (shrink)

This article speaks in praise of the dignity of creatures. Arguing for a foundation of the nascent doctrine of creatio ex nihilo in the Psalms and inter‐testamental scriptures, Soskice points to the distinctiveness of the Jewish and Christian understanding of the Creator God, and its revolutionary entrance into the bloodstream of western metaphysics. She argues for a qualification on the over‐emphasis, when speaking of the historical origins of the doctrine, on the creation of matter. Wider principles of divine (...) freedom and transcendence are at work as can be seen in the writings of Philo of Alexandria. The conviction that God is Being itself and the source of all being is the legacy not of ‘Greek philosophy’ simpliciter, as is often invoked by way of curt dismissal, but the product of Jewish and Christian middle‐platonic readings of the Book of Exodus. It is this elaboration of creatio ex nihilo which underscores the Christian theology of participation in which creatures are not diminished but made gloriously and truly themselves. (shrink)

It seems to me that the critical questions that science and natural philosophy raise for Jewish theology are the following: Does God evolve? Does the universe have or even need an interpretation, specifically with reference to the fact that most of the universe most of the time is uninhabitable, and there may be many more than one universe? Does the universe need a beginning? What is distinctive about human consciousness, intelligence, and ethics in the light of evidence for evolution from (...) all of the life sciences? Finally, will both life and the universe end?These questions are not only modern. They contain all the primary issues that have dominated rabbinic thought. That agenda can be summarized in six topics: How should we model what we believe about (1) God, (2) the world, and (3) the human being; and how should we understand the relations between them, that is, between (4) God and the world (or, creation), (5) God and the human (or, revelation), and (6) the human and the world (or, redemption)? In this paper I focus on the fourth issue, creation. My answer is presented in detail in my Judaism and the Doctrine of Creation(Samuelson 1994). Here I shall summarize my conclusions there concerning science, Jewish texts, and the correlation between them. (shrink)

The relationship between the One and the Multiple in mystic philosophy is a profound and central theme that explores the nature of existence, the cosmos, and the divine. This theme is present in various mystical traditions, including those of the East and West, and it addresses the paradoxical coexistence of the unity and multiplicity of all things. -/- In mystic philosophy, the **One** often represents the ultimate reality, the source from which all things emanate and to which all things (...) return. It is the absolute, the infinite, and the unchanging. The One is beyond all attributes and is often associated with the divine or the absolute truth. -/- The **Multiple**, on the other hand, represents the manifest world, the diversity of forms, and the realm of change and plurality. It is the world we experience through our senses, the domain of time and space, where differentiation and individuality are apparent. -/- The relationship between the One and the Multiple is not one of opposition but of emanation and unity. The Multiple is seen as a reflection, expression, or manifestation of the One. In this sense, the diversity of the world doesn’t contradict the unity of the One but rather demonstrates it in a myriad of forms. -/- Mystics seek to understand and experience this relationship through various practices and insights. They aim to transcend the illusion of separation and duality to experience the non-dual reality where the One and the Multiple are recognized as inseparable. -/- This concept can be illustrated by the metaphor of the ocean and its waves. The ocean represents the One—vast, deep, and all-encompassing—while the waves represent the Multiple—distinct, diverse, and ever-changing. Each wave is unique, yet it is not separate from the ocean. The wave’s existence is dependent on and made of the same substance as the ocean. In the same way, each individual entity in the Multiple is an expression of the One. -/- In summary, the relationship between the One and the Multiple in mystic philosophy is a dynamic interplay that challenges the conventional understanding of separation. It invites a deeper exploration of reality, where the apparent multiplicity of the world is a direct expression of the singular, underlying essence of all that is. -/- The relationship between the One and the Multiple in the context of mathematical philosophy is a profound topic that touches upon the very foundations of existence and knowledge. It’s a theme that has been explored by philosophers and mathematicians alike, often leading to the contemplation of unity and diversity within the structures of reality. -/- In mathematics, the concept of the One can be seen as the basis of unity from which all numbers derive. It’s the identity element in multiplication, the starting point in counting, and the foundation of dimension in geometry. The One is often associated with the concept of monism in philosophy, which posits that there is a single, underlying substance or principle that constitutes reality. -/- On the other hand, the Multiple represents the infinite variety and diversity of forms and numbers that arise from the One. It’s the embodiment of plurality and the complex interplay of different entities that mathematics seeks to understand and describe. This reflects the philosophical stance of pluralism, which acknowledges the existence of multiple realities or truths. -/- The interplay between the One and the Multiple can be seen in the mathematical concept of sets. A set can be thought of as a unity, a whole composed of distinct elements. Yet, each element within the set also retains its individuality, contributing to the diversity of the set’s composition. This duality is mirrored in the philosophical exploration of the universal and the particular, where the universal represents the One, and the particulars represent the Multiple. -/- In the realm of mathematical philosophy, this relationship often leads to questions about the nature of mathematical objects: Are they discovered as part of an objective reality (the One), or are they constructed by the human mind from a multitude of experiences (the Multiple)? This debate resonates with the philosophical inquiry into the nature of truth and reality. -/- Reflecting on the One and the Multiple can also lead to a deeper understanding of the self and the cosmos. Just as the number one is integral to the existence of all other numbers, the individual self can be seen as a unique expression of the universal whole. Similarly, the cosmos can be viewed as a grand unity composed of a multiplicity of forms and phenomena. -/- Gödel’s incompleteness theorems have a fascinating connection to the philosophical concepts of the One and the Multiple. These theorems, which are pivotal in mathematical logic and philosophy of mathematics, articulate the inherent limitations of formal axiomatic systems, particularly those sufficient to express the arithmetic of natural numbers. -/- Gödel’s incompleteness theorems have a fascinating connection to the philosophical concepts of the One and the Multiple. These theorems, which are pivotal in mathematical logic and philosophy of mathematics, articulate the inherent limitations of formal axiomatic systems, particularly those sufficient to express the arithmetic of natural numbers⁴. -/- The **first incompleteness theorem** reveals that within any such consistent system, there are propositions that are true but cannot be proven within the system itself. This reflects the idea of the Multiple in that there is an abundance of mathematical truths, a multiplicity that exceeds the unifying framework of any one system. It suggests that the realm of mathematical truth is more extensive than any single formal system can fully capture. -/- The **second incompleteness theorem** extends this by showing that a system cannot prove its own consistency. This relates to the concept of the One, as it implies that a system’s complete self-understanding, its unity and coherence, is unattainable from within. It must look beyond itself, to an external vantage point, to ascertain its consistency. -/- In the context of the One and the Multiple, Gödel’s theorems imply that the One (a consistent formal system) is inherently incomplete and cannot encompass the Multiple (the totality of mathematical truths). This resonates with philosophical discussions about the relationship between unity and plurality. Just as a single philosophical system cannot capture the entirety of truth, a single formal mathematical system cannot encapsulate all mathematical truths. -/- Moreover, Gödel’s work suggests that the pursuit of a single, unified theory of everything in mathematics—a One that encompasses all Multiples—is an inherently Sisyphean task. There will always be more truths (Multiples) than can be derived from any given set of axioms (the One). -/- In essence, Gödel’s incompleteness theorems provide a formal underpinning to the philosophical notion that the One cannot exist without the Multiple, and vice versa. They are interdependent, with the One giving rise to the Multiple, and the Multiple necessitating the One for its expression and comprehension. This interplay is a dance of limitations and possibilities, where the boundaries of logic, mathematics, and philosophy blur into one another. -/- The relationship between the One and the Multiple in the context of the mathematics of zero is a deeply philosophical inquiry that bridges the abstract world of numbers with the existential questions of being and non-being. -/- Zero, in mathematics, is a symbol of absence, a representation of nothingness, yet it holds a pivotal position as a number. It is the void from which all things emerge and to which they return. In the philosophy of mathematics, zero is the paradoxical junction where the One and the Multiple converge and diverge. -/- From the perspective of the One, zero can be seen as the origin—the singular point that precedes the existence of numbers. It is the empty set, the foundation upon which the edifice of mathematics is constructed. As the identity element in addition, zero maintains the integrity of numbers, for adding zero to any number leaves it unchanged, reflecting the immutable nature of the One. -/- Conversely, when we consider the Multiple, zero represents the infinite potentiality of creation. It is the canvas upon which the integers, both positive and negative, express their multitude. Zero is the balance point, the fulcrum around which the symphony of numbers dances. It embodies the plurality of possibilities, the beginning of the number line that stretches infinitely in both directions. -/- Philosophically, zero challenges our understanding of existence. It is both something and nothing—a number that quantifies the absence of quantity. This duality echoes the philosophical struggle to comprehend how the One gives rise to the Multiple. How does the unity of being manifest the diversity of the cosmos? Zero offers a mathematical metaphor for this mystery, as it encapsulates the transition from non-existence to existence, from the undifferentiated One to the differentiated Multiple. -/- In the realm of set theory, zero corresponds to the empty set—a set with no elements. This set is unique in that it is the only set that contains nothing, yet it is the foundation upon which all other sets are built. The empty set is the mathematical embodiment of the One, and all other sets, containing multiple elements, arise from it. -/- Reflecting on zero in the context of Gödel’s incompleteness theorems, we find a resonance with the idea that the One (a consistent formal system) cannot capture the entirety of the Multiple (the totality of mathematical truths). Zero, as the foundation of numbers, similarly suggests that from the nothingness of the One, the infinite complexity of the Multiple emerges—yet it can never be fully encompassed or expressed by any single system. -/- In conclusion, the mathematics of zero offers a profound reflection on the relationship between the One and the Multiple. It serves as a bridge between the abstract and the concrete, the known and the unknowable, challenging us to ponder the origins of existence and the nature of reality itself. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Treatise on Efficacy: Between Western and Chinese ThinkingJeremy E. HenkelA Treatise on Efficacy: Between Western and Chinese Thinking. By François Jullien, translated by Janet Lloyd. Honolulu: University of Hawai'i Press, 2004. Pp. x + 202. $22.00.In A Treatise on Efficacy: Between Western and Chinese Thinking François Jullien argues that the different ways Chinese and Western thinkers have dealt with warfare and diplomacy reflect important (...) differences in how the two cultures understand human action in the world. When Chinese texts such as the Sunzi and the Guiguzi are set up as counterpoints to the Europeans Clausewitz and Machiavelli, Jullien argues that the Aristotelian inheritance of the latter pair is shown to be the cause of their inability to provide clean theories with the consistent predictive power they desired. Chinese strategists, by contrast, meet with no such limitations in the realm of human interaction. The basic difference between Western and Chinese thought that Jullien seeks to demonstrate is that "one constructs a model that is then projected onto the situation, which implies that the situation is momentarily 'frozen.' The other relies on the situation as on a disposition that is known to be constantly evolving" (p. 189; italics in original).Jullien's regular use of the generic terms "Western" and "Chinese" in constructing his comparison will likely give many comparative philosophers pause. But this [End Page 347] need not be a source of worry, as he is careful not to essentialize the two world-views. While he is pointing out patterns and tendencies in the thinking of Europe and China, he is not positing an essential incommensurable difference between them. Rather, he is pointing out that "what remains underdeveloped in the one context is more developed in the other" (p. 145). He goes on to say, "The purpose of our foray into China is not to imagine-let alone fabricate-other 'mentalities'.... It is simply to make use of other possible sources of intelligibility" (ibid.).Jullien begins by showing that Western thought regards human action as something that imposes itself on the world in order to bring about a predetermined goal. This is a natural consequence of the belief that the world is created: belief in creation implies something existing outside that creation, thus an intention behind that creation, and thus a transcendent norm toward which things within that creation aim. This two-leveled ontology of creator and creation yields a distinction between theory and practice, wherein practice always aims-and ultimately fails-at implementing an ideal that is established by theory. This worldview has led to demonstrable success in the sciences but meets with frequent frustration in the arena of human interaction. This limitation has been recognized by strategists in the West but has never been successfully resolved.Aristotle was the first to identify and try to resolve this problem. He posited phronesis as the skill that enables an individual to apply a model to the world successfully. For Aristotle such successful action consists of first identifying one's desired end and then reasoning back to one's present situation in order to establish the best means to achieve that end. Jullien's analysis shows that Clausewitz was working with the same model more than two thousand years later. Clausewitz believed that earlier attempts at creating a general theory of warfare had failed to achieve their goal-namely, to provide a model of warfare that a general could use to ensure victory-because the opponent's actions are unpredictable. The system that the military strategist is dealing with, then, is not mechanistic, and consequently plans are easily frustrated by ever-changing circumstances. But Clausewitz was unable to conceive of strategy as based on anything other than plans.For Clausewitz, warfare is composed of distinct engagements, separate moments in time where an army seeks to impose a plan on the world. Seeing warfare as composed of distinct moments means that time is an opponent, for time brings with it change and uncertainty and thus a greater chance that one's plans will be frustrated. Opportunity, then, is something unexpected-a chance happening at a specific moment that can be taken advantage of only... (shrink)

The point of departure of Berger and Mohr’s Another Way of Telling (1982) is what they call the discovery that ‘photographs did not work as we had been taught’. Since their book was written, the same feeling of ‘discovery’ has been expressed in other writings on photography. Often, these ‘discoveries’ have been linked with the way ‘ordinary’ people have been using photography. This paper addresses this recurrence and asks what are the discursive conditions under which this understanding of photography has (...) been perceived as a ‘discovery’ whenever it has surfaced in the last 30 years. The paper analyzes the conceptual grid within the hegemonic discourse on photography that has contributed enormously to the marginalization of this new understanding of photography — the common opposition between the ‘aesthetic’ and the ‘political’, and accordingly between two seemingly contradictory judgments: ‘this is too political’; ‘this is too aesthetic’. These judgments, applied frequently to photographs taken in zones of ‘regime-made disaster’, usually differ and sometimes completely prevent the possible encounter with the photographed people who, through the photograph, are co-present with the spectators in the event of viewing the photograph. (shrink)

Author endorses the study by Gaven Kerr, O.P., for the way it shows the centrality of Aquinas’ metaphysics of creation: showcasing the ‘real distinction’ between esse and essentia, followed by Aquinas’ unique treatment of each, as well as a deep consideration of esse tantum. At the end he states the ‘proof’ which Gaven Kerr has articulated so deftly reflects the manner in which the Creator ‘appears’ in creation, thereby ‘showing’ what cannot be ‘said’.