One of the most striking and yet neglected strands in Max Weber’s Protestant Ethic is the evident interest it displays in the affinity between Puritanism and Judaism. Whilst it would be an exaggeration to describe this as a principal theme, still it is one which recurs, and leads to one of those little essays masquerading as footnotes that highlight points in the text where Weber’s interests exceed the bounds of his avowed historical subject [XXI.91 n. 49] – the formation (...) of an ascetic Protestant ethic in the 17th century and its contribution to the formation of the modern Occidental “spirit” of capitalism. On the face of it Judaism can have very little to do with 17th century Puritanism, whilst in the original text of 1904–5 Weber says nothing directly about the possible links between Judaism and capitalist behaviour, though this would seem the most obvious way to introduce this subject. [181 n. 2] The sense that Weber has diverged a long way from his “real” subject is greatly enhanced when we see that the Judaism he is most interested in is ‘Talmudic Judaism’ [XX.45; XXI.90] – an entity which cries out for definition and clarification. On the other hand it is well-known that Weber was deeply interested in the study of Judaism, as is evident from his book-length study of ‘Ancient Judaism’ within the series of the ‘Economic Ethics of the World Religions’ – and even this was only a fragment of the ground he wished to cover. Plainly there are hidden currents at work here, and in charting them we may cast light both on Weber’s thinking about Judaism, and also on the construction of the Protestant Ethic : to what extent was it confined to ‘the Protestant ethic and the “spirit” of capitalism’? and to what extent was it, not merely incomplete but, an “open-plan” text which tacitly embraced a much wider subject area? (shrink)

For more than 100 years, The Protestant Ethic and the Spirit of Capitalism has set the parameters for the debate over the origins of modern capitalism. Now more timely and thought-provoking than ever, this esteemed classic of twentieth-century social science examines the deep cultural "frame of mind" that influences work life to this day in northern America and Western Europe. Stephen Kalberg's internationally acclaimed translation captures the essence of Weber's style as well as the subtlety of his descriptions and causal (...) arguments. Now, for the first time in one volume, The Protestant Ethic and the Spirit of Capitalism with Other Writings on the Rise of the West integrates Weber's exploration of the spirit of capitalism's origins with his larger project: a multi-causal analysis of the West's distinctiveness and its sources. Weber's texts present wide-ranging discussions on the Western city, state, forms of rulership and law, and modes of economic innovation. Moreover, in many selections Weber offers in-depth and insightful comparisons to China and India. Readings on the "economic ethics" of Confucianism, Buddhism, Hinduism, Islam, Judaism, and Catholicism further illuminate the distinct qualities of the West's trajectory and its diverse causes. A separate section examines the long-range influence of the ascetic Protestant sects and churches on American society.To draw readers into the material, this engaging volume includes extended introductions by the editor, many new translations, a chronology of Weber's life, an expanded glossary and bibliography, and numerous clarifying endnotes. In addition, Kalberg addresses a variety of debates concerning the central elements of contemporary life. Ideal for courses in sociology, anthropology, political science, history, international relations, and economics, The Protestant Ethic and the Spirit of Capitalism with Other Writings on the Rise of the West is an essential resource for anyone seeking to understand the origins and endurance of the modern West. (shrink)

Introduction: in search of a Jewish renaissance -- Jewish philosophy: humanist roots of a contradiction in terms -- The prophetic-poetic dimension of philosophy: the ars poetica and Immanuel of Rome -- Leone Ebreo's concept of Jewish philosophy -- Conceptions of history: Azariah de Rossi -- Scientific thought and the exegetical mind, with an essay on the life and works of Rabbi Judah Loew -- Mathematical and biblical exegesis: Jewish sources of Athanasius Kircher's musical theory -- Creating geographical and political (...) utopias: the ten lost tribes and the east -- Ceremonial law: history of a philosophical-political concept -- The city and the ghetto: Simone Luzzatto and the development of Jewish political thought -- Body of conversion and immortality of the soul: Sara Copio Sullam, the 'Beautiful Jewess'. (shrink)

Max J. Lee examines the philosophies of Platonism and Stoicism during the Greco-Roman era and their rivals including Diaspora Judaism and Pauline Christianity on how to transform a person's character from vice to virtue. He describes each philosophical school's respective teachings on diverse moral topoi such as emotional control, ethical action and habit, character formation, training, mentorship, and deity." --provided by publisher.

Revelation and the God of Israel explores the concept of revelation as it emerges from the Hebrew Scriptures and is interpreted in Jewish philosophy and theology. The first part is a study in intellectual history that attempts to answer the question, what is the best possible understanding of revelation. The second part is a study in constructive theology and attempts to answer the question, is it reasonable to affirm belief in revelation. Here Norbert M. Samuelson focuses on the challenges (...) given from a variety of contemporary academic disciplines, including evolutionary psychology, political ethics, analytic philosophy of religion, and source critical studies of the Bible. This important book offers a unique approach to theological questions and fresh solutions to them and will appeal to those interested in the history of philosophy, religious thought, and Judaism. (shrink)

_Explores how the thought of Leo Strauss amounts to a model for thinking about the connection between philosophy, Jewish thought, and history._.

This book is an introduction to the history of art as an institution, from its development in Central Europe to its global expansion through colonialism and diaspora. It considers how the class, gender, and race of artists function to challenge highbrow notions of art and develops the concept of nobrow as a way to democratize art in the future.

Interiority and Law presents a groundbreaking reassessment of a medieval Jewish classic, Baḥya ibn Paquda's Guide to the Duties of the Hearts. Michaelis reads this work anew as a revolutionary intervention in Jewish law, or halakha. Overturning perceptions of Baḥya as the shaper of an ethical-religious form of life that exceeds halakha, Michaelis offers a pioneering historical and conceptual analysis of the category of "inner commandments" developed by Baḥya. Interiority and Law reveals that Baḥya's main effort revolved around establishing a (...) new legal formation - namely, the "duties of the hearts" - which would deal entirely with human interiority. Michaelis takes up the implications of Baḥya's radical innovation, examining his unique mystical model of proximity to God, which he based on an increasingly growing fulfillment of the inner commandments. With an integrative approach that puts Baḥya in dialogue with other medieval Muslim and Jewish religious thinkers, this work offers a fresh perspective on our understanding of the interconnectedness of the dynamic, neighboring religious traditions of Judaism and Islam. Contributing to conversations in the history of religion, Jewish studies, and medieval studies on interiority and mysticism, this book reveals Baḥya as a revolutionary and demanding thinker of Jewish law. (shrink)

In terms of civilian casualties directly and indirectly caused by the war, the Taiping Heavenly Kingdom Movement was the largest war in world history in the second half of the nineteenth century and had a strong East Asian Christian background. This article adopts the ‘historical contextualism’ approach of the Cambridge School in the history of political thought, and through a comparison of the relevant views of Karl Marx, Max Weber and Kang Youwei, it reveals that this intentional omission (...) comes from a specific combination of modernisation routes and modernisation political construction choices. In contemporary China, the study of Christian theory and the practice of church organisation still need to answer the question of the general public as to whether Christianity can bring about a better life, both materially and spiritually.Contribution: This article pointed out that three contemporaries, Marx, Weber and Kang, all evaluated the Taiping Heavenly Kingdom Movement as a revolution of Christianity in China from the standpoint of ‘China’s need for modernisation’, but differed in their evaluation of the position and role of the religious reform factor in the process of modernisation in China. However, they differed in their assessment of the position and role of the Reformation factor in the process of modernisation in China. The article reveals that for Protestant Christianity in contemporary China, it is still necessary to carefully handle its relationship with the government and to satisfy the people’s real needs for a modernised material and spiritual life. Meanwhile, it sheds light on the issue of ‘heterocultural adaptability’ brought about by the expansion and spread of Protestant Christianity in East Asia, as well as on the question of whether Protestantism and Confucianism in the process of modern conversion can achieve peaceful coexistence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Shaping Public Theology: Selections from the Writings of Max L. Stackhouse ed. by Scott R. Paeth, E. Harold Breitenberg Jr., and Hak Joon LeeKara N. SladeShaping Public Theology: Selections from the Writings of Max L. Stackhouse Edited by Scott R. Paeth, E. Harold Breitenberg Jr., and Hak Joon Lee grand rapids, mi: eerdmans, 2014. 392 pp. $40.00Shaping Public Theology is the second major collection of essays focused on (...) the work of Max Stackhouse to appear since his retirement from Princeton Theological Seminary, where he served as the Rimmer and Ruth de Vries Professor of Reformed Theology and Public Life. The first, Public Theology for a Global Society, was a Festschrift composed of short pieces by his former students and colleagues, edited by Deirdre King Hainsworth and Scott R. Paeth. Shaping Public Theology, which is also edited by Paeth along with E. Harold Breitenberg Jr. and Hak Joon Lee, is a helpfully representative compilation of Stack-house’s own writing across the span of his long and prolific career. As such, it demonstrates both the generous aspirations and the significant limitations of “public theology” as Stackhouse envisioned it, as a theologically informed discourse that should be equally accessible to Christians, people of other faiths, and people of no faith or religious background. [End Page 213]The first of the book’s three sections, “Interpreting the Tradition of Public Theology,” places Stackhouse in conversation with other figures in Christian theology and ethics, both past and present. These essays locate him firmly within the strand of Christian thought inhabited by Ernst Troeltsch, Walter Rauschenbusch, and Paul Tillich, and they also reflect his significant and ongoing disagreements with some of his contemporaries, including Alasdair MacIntyre and Stanley Hauerwas. The second section, “Developing a Method for Public Theology,” provides a useful summary of Stackhouse’s distinctive theological method, defining public theology and its relationship to individuals, communities, institutions, and states. The third and final section, “Constructing a Global Public Theology,” turns to one of the major focal points of Stackhouse’s work, examining the role of public theology in the context of globalization. The text concludes with a brief summary contributed by the editors, a response from Stackhouse describing both how his thought has changed over the years and the gaps that he perceives in his work, and a comprehensive bibliography.As a collection, Shaping Public Theology provides the reader with a broad overview of the predominant themes in Stackhouse’s work. The essays demonstrate his abiding concern for an apologetic and universal framework for Christian ethics as well as his emphasis on the covenantal basis for that framework. Stackhouse’s affinity for both the Reformed tradition and the ideals of the Social Gospel movement are also evident throughout the text. In addition many of the essays reflect his ongoing engagement with the theme of “the global” and with globalization not only as a locus of critique but also as the vehicle for “the prospect of a world-comprehending culture, with a new recognition of certain common moral standards” (162).Whether these ideas are theologically helpful, however, is a matter of long-standing disagreement that will not be resolved in the limited space of this review. By treating the covenant between the Triune God and Israel as merely one instance of a “universal moral law,” and by moving from that particular to the universal through the doctrine of the Trinity, Stackhouse participates in a significant—and significantly problematic—strain of thought within the Christian imaginary (67). While he may reject the particularity espoused by George Lindbeck, Hauerwas, et al., he remains grounded within his own particularity with its own decidedly fraught history: that of the modern, progressive, Western civilizing project. As a work of moral theology, this text does have significant limitations. However, as a document of the history of Christian ethics of the twentieth century, Shaping Public Theology is a useful addition to the literature, both for research and for teaching purposes. [End Page 214]Kara N. SladeDuke UniversityCopyright © 2015 Society of Christian Ethics... (shrink)

This book brings together for the first time a collection of essays by some of the most distinguished contemporary Jewish philosophers on issues such as the nature of Jewish philosophy from the perspectives of general philosophy, classical Jewish philosophy and Jewish law, the role of reason and revelation as authority in Judaism, and the impact of contemporary philosophy of history and language on Judaism. The book is a living record of the revitalization of Jewish philosophy in the (...) post-Holocaust world. Co-published with Studies in Judaism. (shrink)

The present article contains observations on the invasion of Lycia by the Hittite king Tudhaliya IV as described in the Yalburt inscription. The author questions the commonly found identification of the land of vitis /Wiyanwanda with the city of Oinoanda on account of the problems raised by the reading of the sign vitis as well as of archaeological and strategical observations. With the aid of Lycian and Greek inscriptions the author argues that the original Wiyanawanda/Oinoanda was located further south than (...) the city commonly known as Oinoanda situated above İncealiler. These insights lead to a reassessment of the Hittite-Luwian sources concerning the conquest of Lycia. (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)

Written and set on the banks of the Neva, St Petersburg Dialogues is a startlingly relevant analysis of the human prospect in the twenty-first century. As the literary critic George Steiner has remarked, "the age of the Gulag and of Auschwitz, of famine and ubiquitous torture... nuclear threat, the ecological laying waste of our planet, the leap of endemic, possibly pandemic, illness out of the very matrix of libertarian progress" is exactly what Joseph de Maistre foretold. In the Dialogues Maistre (...) addressed a number of topics that are discussed briefly or not at all in his other works already available in English. These include an apologetic for traditional Christian beliefs about providence, reflections on the social role of the public executioner and the "divinity" of war, a critique of John Locke's sensationalist psychology, meditations on prayer and sacrifice, and a mini-course on "illuminism." The literary form is that of the "philosophical conversation" – one that allowed Maistre to be deliberately provocative and to indulge his taste for paradox, a "methodical extravagance" that he judged particularly appropriate for the eighteenth-century salon. Translator and editor Richard Lebrun provides a full scholarly edition of this classic work, complete with an introduction, chronology, critical bibliography, and generous explanatory notes. The Dialogues will be of interest to scholars of literary history as well as the history of ideas. (shrink)

Abstract:There is a storied history of Native and Indigenous feminisms on Turtle Island (North America). We are fortunate that many of those stories birthed from an ancestral tradition of storytelling and survivance were captured in the canonical feminist anthology This Bridge Called My Back: Writings of Radical Women of Color. In celebration and commemoration of 40 years since This Bridge was first published we visit with three of the books original Native and Indigenous contributors–Chrystos, Max Wolf Valerio, and Jo (...) Carrillo–to recount old as well as new stories as they explore what Native and Indigenous feminisms mean to them and their continued work for Indigenous visibility. The conversation provides a unique intergenerational vision for conceptualizing contemporary Native and Indigenous feminisms all the while building upon the legacy and path set forth by amazing Native and Indigenous women trailblazers. (shrink)

Abstract. The object of this essay is to explain what there is about discussions of Judaism and the sciences that is distinctive from discussions about religion in general and the sciences. The description draws primarily but not exclusively from recent meetings of the Judaism, Medicine, and Science Group in Tempe, Arizona. The author's Jewish Faith and Modern Science, together with a selective bibliography of writings in this subfield, are used to generate a list of science issues—focused around the (...) religious doctrines of creation, revelation, and redemption in Judaism—that raise specific challenges to Jewish faith. Special attention is given to Leon Kass's The Hungry Soul as an example of a distinctive way to integration knowledge of both science and rabbinic Judaism on a philosophical issue. (shrink)

Jacob Neusner describes, analyzes, and interprets the transformation of one system of the Israelite social order by a connected but autonomous successor-system. He characterizes the successive systems classifying the one as philosophical and the other as religious. He explains the categorical account of each and sets forth the outcome of a number of topical studies on the category-formations of Rabbinic Judaism with special attention to the social order: politics, philosophy, and economics. These systems emerged as [1] autonomous when viewed (...) synchronically, [2] connected when seen diachronically, and [3] as a continuous construction when seen at the end of their formative age. In their successive stages of categorical autonomy, connection, and finally continuity, the three distinct systems may be classified, respectively, as philosophical, religious, and theological, each one taking over and revising the definitive categories of the former and framing its own fresh, generative categories as well. The formative history of Judaism is the story of the presentations and re-presentations of categorical structures. In method, it is the exegesis of taxonomy and taxic systems. Now, after more than two decades, Neusner has decided to review the initial statement. Since the book summarizes ten years of work, from 1980 to 1990, on the Rabbinic category formations of social science politics, philosophy, and economics in the setting of the law and theology of Rabbinic Judaism from the Mishnah through the Bavli, 200-600 C.E., it seemed well worth the effort to recapitulate the original work. The revised introduction explains the omission of theology in his category-formation philosophy-religion-theology; Neusner's account of the Bavli produced the decade after this title was completed did not make possible the continuous description of the unfolding of the Rabbinic system. The pattern that appealed to Neusner from philosophy to religion to theology has not yet come to a satisfactory account. In the twenty years of work on the third layer of the canon up to the Bavli, a series of monographs clarified the theological system that sustained Rabbinic Judaism"--Publisher. (shrink)

Max Ungar (1850-1930) was born in Boskovice, Moravia, and pursued an academic career in mathematics at Vienna University [Franz Brentano was one of his examiners]. His memoirs describe his escape from Orthodox Judaism into a century of high liberalism and the turning to science and knowledge and his failure to achieve the humanism that he was devoted to as a result of anti-Semitism. Although he wrote his memoirs chronologically, there is a recognisable leitmotif: on the one hand his escape (...) from Orthodox Judaism into a century of high liberalism and the turning to science and knowledge; while on the other hand it charts his failure as a devotee of the humanism he was dedicated to as result of his pursuit of science and knowledge. In this respect Max Ungar’s reminiscences written in 1928 but covering the period 1855 – 1892/1928 are particularly significant for their overlapping topics: for its Jewish history during the Austro-Hungarian monarchy in the 19th century and for the portrayal of identity in the modern period. He concentrates on important events in his life, passing the matura/school exam. Helping in his father's business. Falling in love, keeping the engagement a secret, while at university. His time at university and his love of mathematics. Also the academic intrigues and pettiness - not much has changed. Then leaving academic life and working in the business. Trying to get back into academia 5 years later, but without success. His home life, travels with family, visiting friends, information about his wider family: who married whom, how they met, who died, etc. Stories from the business. The difficult relationship with his father. His critical stance towards Judaism. He also relates incidents of anti-semitism in business but also at university. This is the first translation of Ungar’s memoir into English (originally written in German) - translated by Miroslav Imbrisevic. The book is free to download. (shrink)

This book explores the rise of theoretical physics in 19th century Germany. The authors show how the junior second physicist in German universities over time became the theoretical physicist, of equal standing to the experimental physicist. Gustav Kirchhoff, Hermann von Helmholtz, and Max Planck are among the great German theoretical physicists whose work and career are examined in this book. Physics was then the only natural science in which theoretical work developed into a major teaching and research specialty in its (...) own right. Readers will discover how German physicists arrived at a well-defined field of theoretical physics with well understood and generally accepted goals and needs. The authors explain the nature of the work of theoretical physics with many examples, taking care always to locate the research within the workplace. The book is a revised and shortened version of Intellectual Mastery of Nature: Theoretical Physics from Ohm to Einstein, a two-volume work by the same authors. This new edition represents a reformulation of the larger work. It retains what is most important in the original work, while including new material, sharpening discussions, and making the research more accessible to readers. It presents a thorough examination of a seminal era in physics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Why Philosophy Matters for the Study of Religion—and Vice Versa by Thomas A. LewisAndrew ForsythWhy Philosophy Matters for the Study of Religion—and Vice Versa Thomas A. Lewis OXFORD: OXFORD UNIVERSITY PRESS, 2015. 177 PP. $34.95Thomas Lewis's emphasis in Why Philosophy Matters for the Study of Religion—and Vice Versa is chiefly the "Vice Versa" of his book's title. Philosophy of religion (untenably tied to Christianity and Judaism, he (...) claims, and unduly limited to well-worn questions of theism's rationality and the like) must learn from the field of religious studies, and most particularly from its pluralism and twenty-first-century attention to the historical and cultural construction of the category of "religion." Philosophers of religion fail today if they treat as self-evident the building blocks of their discipline.In a series of essays, Lewis diagnoses the malaise, ably sketches "promising signs" of a different paradigm, and prods the discipline to "belong more clearly in religious studies" (vii). More specifically, he treats normativity in religious studies; the place of history (and the history of "religion") in philosophy of religion; the centrality of comparison in religious ethics and philosophy of religion; and the proper—self-conscious—use of categories in the study of religion. Taken one by one, Lewis's essays are elegant and thought-provoking. "On the Role of Normativity in Religious Studies," for example, merits inclusion in any Theories and Methods syllabus, teasing out, as it does, problematic presuppositions that only theology makes normative claims, and that "faith" is juxtaposed with "reason."Taken as a whole, however, Lewis's book will trouble Christian ethicists committed to conversation with religious studies. To begin, philosophy of religion most often "matters," in Lewis's telling, when it clarifies current trajectories of scholarship in religious studies. As a result, the organizing disciplinary presuppositions of religious studies go mostly unchallenged. Second, in Lewis's telling, religious studies becomes a surprisingly narrow enterprise. While the whole sweep of "religious thought, people, movements, practices, materials, etc." (7) is the apparent purview of religious studies, the golden thread running through Lewis's various essay interventions is scholarship on "religion" as a constructed, nonnatural category. This has been a generative pursuit for two decades, but scholarly concern for "religion" risks becoming tediously in-house, despite Lewis's fine articulation of the negative public policy ramifications of simplistic alternatives. No doubt Lewis uses the category of "religion" as just one example of potential work in religious studies, but the example's ubiquity in [End Page 209] the book flows from Lewis's vision of the field: religious studies shares the same kinds of evidence as those used throughout the humanities and social sciences, and excludes work reliant on unassailable authorities (scriptures, traditions) or private forms of justification (experience). Neither tracking a particular natural phenomenon, then, nor employing its own particular methods, discourse on the use of the category of "religion" becomes ever more central.Finally, the relationship between what might be called Lewis's "broader" and "narrower" visions of philosophy of religion is left somewhat unclear. Lewis's broader position is inclusive of positions he does not hold but that are not excluded by his understanding of the boundaries of the field. His narrower position is a take on Hegel, its details outlined in the concluding essay. Hegel's thought, Lewis tells us, offers the greatest potential for "simultaneously acknowledging the historical situatedness of our own viewpoint, exposing the hidden operation of power, and providing a rational justification for our normative commitments" (159–60). While Lewis's impulse throughout Why Philosophy Matters is for wider, broader work in philosophy of religion, his narrower Hegelian vision of the field, it turns out, has no place for "extra-conceptual grounding, whether in empiricist or transcendent accounts" (156). Are only Hegelian and pragmatist accounts sufficient? Philosophers must make a case for what they think is true, of course, but there is still some irony that a work that helpfully seeks to expand philosophy of religion beyond the "parochial" (23, 28) ends by excluding so much.Andrew ForsythYale UniversityCopyright © 2017 Society of Christian Ethics... (shrink)

"Disenchantment" is a key term in the self-understanding of modernity. But what exactly do we mean when we use this concept? What was its original meaning when Max Weber introduced it? And can the conventional meaning or Max Weber's view really be defended, given the present state of knowledge about the history of religion? This book is an attempt to divest this concept of its enduring enchantment. The first chapters of the book deal with the three empirical disciplines (...) class='Hi'>history, psychology and sociology of religion to develop an understanding of religion that then lays the groundwork for what is presented in chapter 4, namely the most thorough study of Weber's views on disenchantment that has ever been undertaken. It turns out that Weber's use was highly ambiguous and that his grand narrative leading from the prophets of ancient Judaism to the crisis of meaning on the eve of the First World War collapses when we recognize this ambiguity. This makes it possible to construct an alternative that takes into account the dynamics of ever new sacralizations, their normative evaluation in the light of the values of a universalist morality and the dangers of the misuse of religion in connection with the formation of power. This book constitutes a challenge - for believers and non-believers alike. (shrink)

The Protestant sources used by Max Weber in his early writings, especially The Protestant Ethic, are well known. They show his familiarity with the theological discourses of his day. Weber's conception of religious individualism and his activities in church politics, e.g. the Evangelisch-Sozialer-Kongress, are the result of his juxtaposition of Lutheranism and Calvinism, of active and passive states of religiousness. This itself was deeply influenced by nineteenth-century Protestant theology. Due to this, it is common to speak of Weber's affinity with (...) German liberal theology. Although Weber's famous lectures on science and politics as a vocation, delivered in Munich in 1917 and 1919, have been called, the authentic offspring of The Protestant Ethic‘, the lectures have not yet been properly researched with respect to their theological sources. This paper argues that in Science as a Vocation Weber, firstly, regards modern Protestant theology and its distinction between ‘religion’ and ‘theology’ as a fundamental insight favouring the rise of modern science. This has to be understood in the context of the debate on the ‘revolution in science’ in the early twentieth century, when Weber passionately defended the right of specialised science. Secondly, Weber had been increasingly influenced by Julius Wellhausen's work on the history of Israel, especially his interpretation of the prophets, which Weber studied intensively for his own work on ancient Judaism. Wellhausen's opposition of the prophet's heroic individualism, on the one hand, and institutionalized religion, on the other, affects Weber's later interest to clearly distinguish between the Christian ethics of brotherhood and the needs of modern politics. This is of fundamental import for the well-known differentiation between ‘the ethic of principled convictions’ and ‘the ethic of responsibility’. This paper puts forward the thesis that in the lecture Politics as a Vocation Weber develops a normative and radical concept of religion and theology, which leads him to criticize the conception of liberal theology within its own terms – despite the fact that it was a major source for his own work. (shrink)

Max Scheler’s essay on virtue, first published under a pseudonym in 1913, begins with some reflection upon the decline in his era of a concern for virtue. Its central theme is a phenomenological exhibition of the Christian experience of humility, reverence, and related concepts, together with an exploration of their historical and social embodiments in Western culture. The core of humility is a spiritual readiness to serve, related to love, that produces in its possessor a liberation from the ego. The (...) core of reverence is its sense of what surpasses our vision. It has the power to reveal to us the deeper value and being in all things. The paper contains elements of a polemic directed against scientific naturalism. (shrink)

Written and set on the banks of the Neva, St Petersburg Dialogues is a startlingly relevant analysis of the human prospect at the end of the twentieth century. As the literary critic George Steiner has remarked, "the age of the Gulag and of Auschwitz, of famine and ubiquitous torture,... nuclear threat, the ecological laying waste of our planet, the leap of endemic, possibly pandemic, illness out of the very matrix of libertarian progress" is exactly what Maistre foretold. In the Dialogues (...) Maistre addressed a number of topics which are discussed briefly or not at all in his other works already available in English. These include an apologetic for traditional Christian beliefs about providence, reflections on the social role of the public executioner and the "divinity" of war, a critique of John Locke's sensationalist psychology, meditations on prayer and sacrifice, and a mini-course on "illuminism." The literary form is that of the "philosophical conversation" -- one that allowed Maistre to be deliberately provocative and to indulge his taste for paradox, a "methodical extravagance" that he judged particularly appropriate for the eighteenth-century salon. Translator and editor Richard Lebrun provides a full scholarly edition of this classic work, complete with an introduction, chronology, critical bibliography, and generous explanatory notes. The Dialogues will be of interest to scholars of literary history as well as the history of ideas. (shrink)

The Oxford Handbook of Religious Conversion offers a comprehensive exploration of the dynamics of religious conversion, which for centuries has profoundly shaped societies, cultures, and individuals throughout the world. Scholars from a wide array of religions and disciplines interpret both the varieties of conversion experiences and the processes that inform this personal and communal phenomenon.This volume examines the experiences of individuals and communities who change religions, those who experience an intensification of their religion of origin, and those who encounter new (...) religions through colonial intrusion, missionary work, and charismatic and revitalization movements. The thirty-two innovative essays provide overviews of the history of particular religions, including Hinduism, Buddhism, Confucianism, Taoism, Sikhism, Islam, Christianity, Judaism, indigenous religions, and new religious movements. The essays also offer a wide range of disciplinary perspectives-psychological, sociological, anthropological, legal, political, feminist, and geographical-on methods and theories deployed in understanding conversion, and insight into various forms of deconversion. (shrink)

This is a book about the need for redemptive narratives to ward off despair and the dangers these same narratives create by raising expectations that are seldom fulfilled. The quasi-messianic expectations produced by the election of President Barack Obama in 2008, and their diminution, were stark reminders of an ongoing struggle between ideals and political realities. Redemptive Hope begins by tracing the tension between theistic thinkers, for whom hope is transcendental, and intellectuals, who have striven to link hopes for redemption (...) to our intersubjective interactions with other human beings. Lerner argues that a vibrant democracy must draw on the best of both religious thought and secular liberal political philosophy. By bringing Richard Rorty's pragmatism into conversation with early-twentieth-century Jewish thinkers, including Martin Buber and Ernst Bloch, Lerner begins the work of building bridges, while insisting on holding crucial differences in dialectical tension. Only such a dialogue, he argues, can prepare the foundations for modes of redemptive thought fit for the twenty-first century. (shrink)

On the History and Transmission of Lacanian Psychoanalysis addresses key questions about the history and transmission of Lacan's work in North America through discussions with experienced psychoanalysts (who are also trained psychiatrists, psychologists, and psychotherapists). Chris Vanderwees presents conversations with clinicians about their psychoanalytic formation and about the development of Lacanian psychoanalysis in North America over the past several decades. With oral narrative brought out through the technique of free association, then transcribed and annotated, each discussion is a (...) trace of Vanderwees' encounter with each clinician and the result of collaborative efforts involving speech, writing, translation, and transmission. The conversational tone makes these discussions accessible not only for those already well-versed in Lacan's thinking, but also for anyone discovering his work for the first time. The range of contributions spans both French and English-speaking Canada, the United States, and Mexico. Complemented by On the Theory and Clinic of Lacanian Psychoanalysis, this book of conversations conveys the diversity of historical and pedagogical perspectives on theory and practice as inspired by Lacan's system of thought. It will be of great interest to all psychoanalytic practitioners as well as academics and scholars of psychoanalysis. (shrink)

The translator of Scheler’s essay, “On the Rehabilitation of Virtue,” presents an account of the context of this essay in Scheler’s work and of its relevance to his concept of the ordo amoris and to his critique of Kant. The translator discusses the intended audience of the essay, its moral purpose, and the method of its procedure. The postscript further reflects on the essay’s central themes of humility and reverence, suggesting avenues for a critical assessment of Scheler’s conclusions. It ends (...) with some reflections on the contemporary value of Scheler’s contributions in this essay to a historical and philosophical understanding of the conflict between science and religion. (shrink)

With the aim of guiding readers along, in Hegel’s words, “the long process of education towards genuine philosophy,” this introduction emphasizes the importance of striking up a conversation with the past. Only by looking to past masters and their works, it holds, can old memories and prior thought be brought fully to bear on the present. This living past invigorates contemporary practice, enriching today’s study and discoveries. In this book, groundbreaking philosopher and author Donald Verene addresses two themes: why (...) should one study the historically “great” texts and, if such a study is necessary, how can one undertake it? Acting out against the rejection of the idea that there is a philosophical canon, he centers his argument on the “tetralogy” of Plato, Aristotle, Kant, and Hegel. From his opening look at the rhetorical tradition, he brings those core ideals forward to classical Roman and medieval philosophers and then on into Renaissance and modern philosophy, including contemporary thinkers such as Derrida and Foucault. This vital chronological outline is supplemented by Verene’s contextualizing commentary. In ensuing sections, he offers guidance on reading philosophical works with “intellectual empathy,” suggests 100 essential works to establish a canon, illustrates the role of philosophers in history and society, and examines the nature of history itself. Ultimately, Verene concludes that history may be essential to philosophy, but philosophy is more than just its history. (shrink)

We set out to find ways to help decision makers overcome the “winner’s curse,” a phenomenon commonly observed in asymmetric information bargaining situations, and instead found strong support for its robustness. In a series of manipulations of the “Acquiring a Company Task,” we tried to enhance decision makers’ cognitive understanding of the task. We did so by presenting them with different parameters of the task, having them compare and contrast these different parameters, giving them full feedback on their history (...) of choices and resulting outcomes, and allowing them to interact with a human opponent instead of a computer program. Much to our surprise, none of these manipulations led to a better understanding of the task. Our results demonstrate and emphasize the robustness of the winner’s curse phenomenon. (shrink)

'This man of our destiny': Moses Mendelssohn, Nathan the Wise, and the emergence of a liberal Jewish ethos -- Diasporic visions: the emergence of liberal Judaism -- Abraham Geiger -- Hermann Cohen's prophetic Judaism -- Ernst Cassirer and the ethical legacy of Hermann Cohen -- Ernst Cassirer: the enlightenment as counter-history -- Hannah Arendt: the task of the historian -- Hannah Arendt: a question of character.

Jacob Neusner was a prolific and innovative contributor to the study of religion for over fifty years. A scholar of rabbinic Judaism, Neusner regarded Jewish texts as data to address larger questions in the academic study of religion that he helped to formulate. _Jacob Neusner on Religion_ offers the first full critical assessment of his thought on the subject of religion. Aaron W. Hughes delineates the stages of Neusner’s career and provides an overview of Neusner’s personal biography and critical (...) reception. This book is essential reading for students and scholars interested in Neusner specifically, or in the history of Religious Studies, Jewish Studies, and philosophy of religion more broadly. (shrink)

This paper provides new elements for reconstructing Heinrich Hertz's conversion from an electrodynamic concept to a concept of field theory, a process that took place between September 1887 and February 1888. First of all, it is argued that, contrary to what one could deduce from Hertz's own presentation in his Untersuchungen (or Electric Waves), paper N∘ 5 was actually written after the first publication of papers N∘ 6 and N∘ 7; this fact is illuminated by Hertz's unpublished correspondence (Section 1). (...) Following this reordering, an approximative process of Hertz's conversion based only on his published papers is described (Section 2). Second, by complementing Hertz's published Erinnerungen (or Memoirs, Letters, Diaries) with his unpublished Versuchsprotokolle (Laboratory notes), a much finer description of this conversion process is discussed (Section 3). It is finally concluded that Hertz's idea of “air waves” belongs at the very end of this process, and was mainly attained through experimental hints found within Helmholtz's theoretical framework. (shrink)

Interpretive understanding of human behaviour, known as verstehen, underpins the divide between the social sciences and the natural sciences. Taking a historically orientated approach, this collection offers a fresh take on the development of understanding within analytic philosophy before, during and after logical empiricism. In doing so, it reinvigorates debates on the role of the social sciences within contemporary epistemology. Bringing together leading experts including Martin Kusch, Thomas Uebel, Karsten Stueber and Giuseppina D'Oro, it is an authoritative reference on the (...) logical empiricists' philosophy of social science. Charting the various reformulations of verstehen as proposed by Wilhem Dilthey, Max Weber, R.G Collingwood and Peter Winch, the volume explores the reception of the social sciences prior to logical empiricism, before surveying the positive and negative critiques from Otto Neurath, Felix Kaufmann, Viktor Kraft and other logical empiricists. As such, chapters reveal that verstehen was not altogether rejected by the Vienna Circle, but was subject to various conceptual uses and misuses. Along with systematic historical coverage, the book situates verhesten within contemporary interdisciplinary developments in the field, shedding light on the 21st-century 'turn' to understanding among analytic philosophers and opening further lines of inquiry for philosophy of social science. (shrink)

Over 700,000 copies of the original hardcover and paperback editions of this stunningly popular book have been sold. Karen Armstrong's superbly readable exploration of how the three dominant monotheistic religions of the world—Judaism, Christianity, and Islam—have shaped and altered the conception of God is a tour de force. One of Britain's foremost commentators on religious affairs, Armstrong traces the history of how men and women have perceived and experienced God, from the time of Abraham to the present. From (...) classical philosophy and medieval mysticism to the Reformation, the Enlightenment, and the modern age of skepticism, Armstrong performs the near miracle of distilling the intellectual history of monotheism into one compelling volume. (shrink)

In On the Genealogy of Color , Zed Adams challenges widely held philosophical views about the nature of color, exploring the relevance of the history of color science for contemporary debates in color realism/anti-realism and philosophy of mind. Adams argues that the two sides of the contemporary debate on the problem of color realism, Cartesian anti-realism and Oxford realism, are both predicated on an assumption that the concept of color perception is ahistorical and unrevisable. Adams takes issue with this (...) premise and traces the development of theories of color in order to undermine this assumption and open up the conversation about our perception of color. This book makes a significant contribution to recent debates on philosophical methodology by demonstrating the efficacy of using the genealogical method to explore philosophical concepts, and will appeal to philosophers of perception, philosophers of mind, and metaphysicians. (shrink)

The Hebrew phrase tikkun olam means repairing, mending or healing the world. Today, the phrase tikkun olam, particularly in liberal Jewish American circles, has become a slogan for a diverse range of topics such as activism, political participation, call and pursuit of social justice, charities, environmental issues and healthy nutrition. Moreover, the presidents of the United States who attend Jewish religious days and Jewish ceremonies state the tikkun olam in its Hebrew origin, pointing out its origin embedded in the (...) class='Hi'>Judaism and a religious rule and/or an obligation that is important in Jewish tradition and thought. Nevertheless, when we look at the context of religious literature in which the phrase is used, it is seen that, although it is difficult to make a clear definition, it does not reflect modern/widespread uses and their meanings. Furthermore, tikkun olam is an ignored and even rejected concept by the Rabbinic Judaism which claims to represent the tradition and its current representative Orthodox Judaism. This fact is also seen in the usage and prevalence of the term in the U.S. and Israel. Thus, in this article, especially with reference to the norms of Mishnah, the religious-juristicial contexts and possible meanings of the phrase of tikkun olam, the notion of tikkun olam in Jewish liturgy and its implied meaning and the Kabbalistic understanding of tikkun will be presented, the development, changing and conversion of the phrase in modern age and its contemporary usage areas and reinterpretations will be demonstrated.Summary: Recently and especially in the U.S., the Hebrew phrase tikkun olam are used as a slogan in a widespread manner such as for activism, political participation, social justice, all kinds of charities, environmental issues, counter terrorism and healthy nutrition. Such a common usage of the phrase is largely the result of its literal meaning and ambiguity. Hence, this article aims to explore the place of the concept of tikkun olam in Jewish religious literature and its variations and semantic changes. Tikkun olam, literally means the repairing, mending or healing the world. However, regarding its religious context, it is difficult to determine what it means accurately. In time, some has used the tikkun olam as a legislative justification for changing specific laws, some has attributed to it an eschatological meaning which indicates to the mesianic age, and some has dicussed it in the context of mystical sense. The first usage of the phrase of tikkun olam in the Jewish religious literature was simply in the form of “because of tikkun olam” in Gittin epistle, a tractate of Mishnah and Talmud. Here, the phrase was used as a reason of a judgment concerning to the subjects of marriage, divorcement, slavery, captivity etc. In the context of these subjects tikkun olam indicates to the similar meanings like “repairing, organizing, healing, changing the world; regulating and improving the society, maintaining the social order, and prioritizing the common good. In fact, the concept of tikkun olam as the reason of the judgements in these matters is likely related to a juridical reason that intends to ensure the personal and public welfare such as clarifying the marital status of woman, to prevent the capture and seizure from Jewish society, and to deal with economy and identification of juridical status of the slaves.The other reference to tikkun olam appears in the second part of the aleinu prayer. However, the notion of tikkun olam in the aleinu prayer refers to a situation that happens in God’s Kingdom if Torah and halakhah are followed carefully. Hence, the aleinu prayer’s tikkun olam points out eschatological expectation which desires a messianic age, but not the socio-political and ecological concerns of the world as in the current fields and meanings.The modern idea of tikkun olam is also associated with the Jewish mystical movement, Kabbalah. Nonetheless, the concept of tikkun in Kabbalah is not a concept related to the socio-political circumstances of the world where we live in, but it is related to the restoring of the divine world. In order to restoring the divine world, human should fulfill the commands by studying Torah and have a spiritual and moral rehabilitation process by engaging in ascetic practices.The use of the phrase of tikkun olam gradually progress in the socio-political life of the U.S. The first use of the expression of tikkun olam in the U.S. was in the 1950’s by Shlomo Bardin, the founder of the Brandeis Camp Institute in California. Bardin asserted that the Aleinu prayer was the most important expression of Jewish values, particularly the expression “le-taken olam be-malchut shaddai” that is typically translated as “when the world shall be perfected under the reign of the God.” Bardin suggested that these words referred to the obligation of Jews to work for a more perfect world. The concept of tikkun olam entered contemporary usage by the way of its being preferred as a name to those such as social justice and charity programmes which was launched by the Reformist and Conservative groups in the second half of the twentieth century. In 1970s, United Synagogue Youth which is the national youth foundation of the conservative movement adopted the expression of tikkun olam and changed the title of its social action programs from “Building Spiritual Bridges” to “Tikkun Olam.” Nowadays, United Synagogue Youth proceeds all of its social activities and tzedakah programs through the tikkun olam project.By the end of 1970’s, New Jewish Agenda, an organization devoted itself to the religious and social values, acknowledged the slogan of “Tikkun Olam” as the spirit of its ideology. In 1986, Michael Lerner entitled a left-oriented liberal publication with the concept of Tikkun by claiming that this concept represented the origin of Judaism, and he take an important role on making the concept have a prevalence.Pittsburgh Platform organized in 1999 by the Reformist Jewish Movement emphasized that people must perform the most significant moral principles in the relationships with all non-Jewish people and all other creatures. This platform also stated that making the world a better place with the help of God would quicken the upcoming the messianic age. The tikkun understanding of the Reformist movement evolved to more universal realm by embracing the non-Jewish people, as well. Over the last two decades, successive presidents of the U.S. who attended in the ceremonies of Jewish religious days and Jewish assemblages have contributed to the prevalence and usefulness of tikkun olam by mentioning the phrase of tikkun olam in Hebrew, expressing that this is an essential principle of Judaism and addressing that this has a central role in Jewish tradition and thought. On the other hand, this concept does not have an important or a central place in Rabbinic Judaism and even in Orthodox Jewish communities which are the current representatives of Rabbinic Judaism. Moreover, Reformist, Conservative, and Reconstructionist American Jews who are considered on the liberal side of the politics has put the concept on the current use and the world’s agenda. Thus, the phrase of the tikkun olam is more popular in non-Judaic milieux in the U.S. than the Jews in Israel. In Israel where the Orthodox doctrine is dominated and shaped the people, tikkun olam is regarded as a western value and is ignored. (shrink)

ABSTRACTFor the Scottish Enlightenment thinker Adam Ferguson and many of his time, the history of the Roman Republic furnished the best case study for discussions of internal threats to a mixed system of government. These included factionalism, popular discontent, and the rise of demagogues seeking to concentrate power in their own hands. Ferguson has sometimes been interpreted as a ‘Machiavellian’ who celebrated the legacy of Rome and in particular the value of civic discord. By contrast, this article argues that (...) he is better understood as a disciple of Montesquieu, who viewed Rome as an anachronistic and dangerous ideal in the eighteenth century, the era of the civilized and commercial monarchy. The greatest fear of Ferguson was military despotism, which he believed was the likely outcome of democratic chaos produced by the levelling instincts of the ‘common’ people and demagogues prepared to harness their discontent. In such a scenario, a legitimate order in a mixed government would be turned into a faction putting the constitutional balance at risk, undermining intermediary powers, and ending liberty for all. (shrink)

_This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." _ Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between these four (...) men in which they discuss fraternity, religious identity, and legacy as well as reveal aspects of their lives-notably their relations with their wives-that many have ignored, underemphasized, or misrepresented. The desire for canonization and the process by which it is obtained are the underlying themes of this dialogue, with emphasis on Paul Klee's _Angelus Novus _(1920), a canonized work that resonated deeply with Benjamin, Adorno, and Scholem (and for which Djerassi and Gabrielle Seethaler present a revisionist and richly illustrated interpretation). Basing his dialogue on extensive archival research and interviews, Djerassi concludes with a daring speculation on the putative contents of Benjamin's famous briefcase, which disappeared upon his suicide. (shrink)

Hegel’s treatment of Judaism in his early theological writings and his lectures on the philosophy of world history is relatively well-known. One of the best and most recent discussions of it is found in Shlomo Avineri’s paper, “The Fossil and the Phoenix: Hegel and Krochmal on the Jewish Volksgeist,” presented at the 1982 biennial meeting of the Hegel Society of America. Avineri points out that Hegel’s portrayal of Judaism in the early writings mainly followed the conventional image (...) found in traditional Christian theology. He depicted Judaism as a religion of “slavish obedience to laws” laid down not by the people themselves but by a “supreme wisdom on high,” as well as a religion of deceit, cowardice, alienation, and stubborn particularism. In one significant instance, however, Hegel deviated from these traditional stereotypes, namely, in his understanding of and sympathy for the political, national feelings of the Jews during the period of Roman subjugation prior to the destruction of the second temple. They “discarded their ineffective messianic hopes and took up arms,” resisting courageously but suffering “the most appalling of human calamities,” the loss of city and nation. “The scattered remnant of the Jews have not abandoned the idea of the Jewish state, but they have reverted not to the banners of their own courage, but only to the standards of an ineffective messianic hope.”. (shrink)