In the early 1960s, American philosopher of science Thomas Kuhn contributed to a “crisis of rationality” with his hypothesis that science develops by means of paradigm shifts. He challenged the positivist concept of cumulative and continuous scientific progress. According to Kuhn, the relation between two succeeding scientific traditions ‘separated by a scientific revolution’ is characterized by conceptual incommensurability that constrains the interpretation of science as a cumulative, steadily progressing enterprise. Thomas Kuhn’s philosophy was heavily criticized by German-American biologist Ernst Mayr (...) as unapplicable to the history of biology. Mayr, one of the most outstanding evolutionary biologists of the 20th century and a “co-architect” of the so-called Modern Synthesis (contemporary Darwinism), published extensively on the history and philosophy of biology as he thought that theoretical biology cannot progress without proper philosophy of science. Being convinced of the progressive development of Darwinism, Mayr pointed out that Kuhn’s concept of scientific revolutions does not reflect conceptual changes in evolutionary biology. Here we summarize Mayr’s critiques of Kuhn and, based on our own research, take Mayr’s side in the controversy between two great thinkers. (shrink)

Abstract.The German zoologist and geneticist Ludwig Plate was a pupil and successor of the “German Darwin” Ernst Haeckel as the director of the Institute of Zoology at Jena University. Plate campaigned for a revival of the original Darwinism. His research program, which he labelled “old-Darwinism”, proclaimed the synthesis of selectionism with “moderate Lamarckism” and orthogenesis.This article reconstructs and analyses Plate’s “old-Darwinian” synthesis and sheds light on Plate’s controversial biography, especially his conflict with Haeckel.

The main objective of this paper is to introduce the space-time concept of V. I. Vernadsky and to show the importance of this concept for understanding the biosphere theory of Vernadsky. A central issue is the principle of dissymmetry, which was proposed by Louis Pasteur and further developed by Pierre Curie and Vernadsky. The dissymmetry principle, applied both to the spatial and temporal properties of living matter, makes it possible to demonstrate the unified nature of space and time. At the (...) same time, this principle shows the difference between the spatial-temporal properties of living matter and those of the inert environment. Living matter as opposed to the inert environment is an important part of the Weltanschauung of Vernadsky and is connected with all basic statements of his theoretical system. (shrink)

Ernst Haeckel formulated his biogenetic law, famously stating that ontogeny recapitulates phylogeny, in 1872. The Russian evolutionist Alexei Sewertzoff, and the Swiss-born zoologist Adolf Naef were among those who revised Haeckel’s law, thus changing the course of evolutionary theory and of developmental biology. Although Sewertzoff and Naef approached the problem in a similar way and formulated similar hypotheses at a purely descriptive level, their theoretical viewpoints were crucially different. While Sewertzoff laid the foundations for a Darwinian evolutionary morphology and is (...) regarded as a forerunner of the modern synthesis, Naef was one of the most important figures in “idealistic morphology”, which is usually seen as a type of anti-Darwinism. Both Naef and Sewertzoff aimed to revise Haeckel’s biogenetic law and came to comparable conclusions at the empirical level. This paper is an attempt to explain how their fundamentally different theoretical backgrounds influenced their views on the relationship between ontogeny and phylogeny. (shrink)

Understanding and empathy on the part of those in privileged positions are often cited as powerful tools in the fight against oppression. Too often, however, those in positions of power assume they know what it is like to be less well off when, in actuality, they do not. This kind of assumption represents a thinking vice we dub synecdoche epistemic arrogance. In instances of synecdoche epistemic arrogance, a person who has privilege wrongly assumes, based on limited experiences, that she can (...) know what it is like to experience a particular form of oppression. We argue two main points. First, synecdoche epistemic arrogance can lead to a variety of moral harms. Second, synecdoche epistemic arrogance is often tied to other troubling epistemic patterns, which we discuss in the context of disability and race simulations. Overall, the essay helps demonstrate how synecdoche epistemic arrogance can contribute to injustice. (shrink)

Julia Knopes’s (2025) article aims to explain how models of disability apply in the lives and experiences of people with lived mental health conditions who serve as peer support providers. However,...

t. 1. Lubi︠a︡nka-Ėkibastuz ; Sozidateli i razrushiteli -- t. 2. Teorii︠a︡ gustot : opyt khristianskoĭ filosofii kont︠s︡a XX veka ; Mekhanika na kvantovom urovne -- t. 3. K teorii gustot ; Postulaty marksizma i zakony prirody ; Pustota bezbozhii︠a︡ ; Politėkonomii︠a︡ na ėnergeticheskoĭ osnove ; Derzhava sozidateleĭ ; K edinenii︠u︡ khristian -- t. 4. Mysli o raznom ; Solzhenit︠s︡yn i deĭstvitelʹnostʹ ; Statʹi v zapadnoĭ presse.

The essay focuses on completing one of Husserl’s signitive theory with a new perspective. The discussion of the signitive theory is based more on the apperception’s function than to the perceptive one. We have observed that music produces for the ʻSelfʼ different feelings. But one of the most seductive feelings we want to discuss related to music is the perpetual floating-feeling, which is quite similar to the levitation process and it has connections with the idea of the lightness of the (...) Being in some circumstances. Despite these, stays nostalgia. We are introducing a model based on two terms, as permanent {ʻintoʼ}-falling Self’s condition into the sounds and the signitive-apperceptive-intuition. The basic assumption is that music is a continuously phenomenological-fall which extenses the Husserlian theory more, completing it day by day. We hope that our concepts proposed here, signitive-apperceptive-intuition and the {ʻintoʼ}-falling will bring a new light in modelling the sound in a phenomenological manner. (shrink)

This article discusses works of two artists—Marina Abramović and Elżbieta Jabłońska —who explore a clash between heroism and everydayness in the kitchen space. Everyday routine inexorably demands being performed. Its uncompromising decrees spare neither mystics nor the free souls of artists. Even the most spiritual people must eat and drink. To solve the conflict of matter and spirit, these artists draw on different traditions that transcend reality: mysticism and the superheroes of popular culture, respectively. Abramović enters the kitchen as St. (...) Teresa of Avila while Jabłońska dons Superman’s cap. Does one have to rise above the ground to feel that cooking, cleaning, and washing up are not beyond the powers of an average woman? Are the body and the soul doomed to fight each other permanently? Each artist’s work suggests different answers and solutions. (shrink)

The article is on the exegesis of the parable of the Good Samaritan (Lk 10:25–35) and its relevance to the challenges that are being posed by COVID-19. Through the historical-critical approach, the article has concluded that the parable is relevant in troubleshooting the challenges that are caused by COVID-19, such as discrimination, stigma, hate and stereotypes. The article sees COVID-19 as teaching humanity the important lesson that no one can live in isolation, however powerful or economically strong they are. Therefore, (...) there is a need to take the opportunity of being a neighbour. Neighbourhood is understood as offering services to those in need and COVID-19 has presented a chance to the entire world to help someone with needs. A need-based world requires neighbours and this makes the parable relevant. Contribution: This article is a reflection of the challenges that are currently faced by people in response to the COVID-19 pandemic. It is within the scope of this theological journal that issues of identity, relationships, and theological reflection should be addressed, hence the article fits well within this scope. (shrink)

The case of St. Joseph, the Flying Friar, is one of the most fascinating in the entire history of parapsychology. But until now, there was very little written in English about Joseph. Grosso’s new book fills that void handily, and goes well beyond that by speculating in detail and great subtlety on a variety of surrounding issues, including the efficacy of prayer, the history of religion and religious miracles in general, and the psychology of the period in relation to the (...) development of religious thought. Grosso’s broad range of scholarly competence allows him to weave together these various threads into something much more than a mere recounting of astounding anecdotes about Joseph’s phenomena. Indeed, there’s more in this book than can be covered adequately in a review. So I’ll focus primarily on what I imagine will be news anyway to most JSE readers—namely, the astounding phenomena and the reasons for taking this case seriously. The case of St. Joseph provides the earliest outstanding evidence for human levitation and quite possibly the best from any era. But from a certain conventional viewpoint, the case has several strikes against it from the start. In many people it triggers deep-seated prejudices, about either historical evidence generally or the evidence for alleged religious miracles in particular. Even those willing to be open-minded about nineteenth-century evidence for paranormality may balk at taking seventeenth-century evidence equally seriously. And even those willing to be open-minded about seventeenth-century evidence may draw the line at evidence for religious miracles. Here, they would urge, the problem of biased observation and reporting are especially acute. (shrink)

The Magician's Apparatus is an essay for the exhibition catalogue of The Collector's Room Exhibition at JGM Gallery in London, curated by Karen David. The Collector’s Room sees JGM Gallery transformed into a parlour room of a collector with a leaning towards illusion, stage magic and the escapologist Harry Houdini. In this room we encounter artworks such as spirit levels, levitations, gospel magic props, tarot cards, portraits of magicians, antique keys, handcuffs, sword boxes, escape trunks, magic wands, smoke, and mirrors. (...) The essay focuses on an encounter I had with a waxwork double of Paul Daniels at Wookey Hole Caves. It considers the central operation of the magicians’ craft: employing a decoy to misdirect, opening up the space between fact and fiction, the real and the made up. When watching a magic trick, the audience is knowingly placed at the centre of a conceit, an illusion that they are both complicit in but also kept separated from. A magician's audience always knows that the trick is not showing us what is actually happening - showing the spectator the mechanism of the illusion - but it is pretending to do that thing. Like the waxwork double, the magic trick is a simulation of reality that is always slightly distorted, always off-centre, always a theatrical manifestation of the real. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eclipsing Art: Method and Metaphysics in Coleridge’s Biographia Literaria *Tim MilnesColeridge’s PredicamentIn his self-addressed “letter” which precipitates the abrupt end to the thirteenth chapter (and with it, the first volume) of the Biographia Literaria, Coleridge likens the current state of his argument to “the fragments of the winding steps of an old ruined tower.” 1 The suggestion of intellectual ascent in this is revealing and is echoed a few (...) years later by his explanation of the pedagogical function of the “Landing-Places” between the essays in The Friend (1818). 2 The underlying idea, as usual with Coleridge, is akin to that of an exercise in intellectual and spiritual mountaineering. The thinker, having established a safe base camp in fixed first principles, gradually ascends to higher truths, which are at the same time taken to be foundational and which form the ground of the whole process. The logical return here is what Coleridge elsewhere explains as the “seeming argumentum in circulo, incident to all spiritual Truths.” 3 In the Biographia, however, this process of simultaneous levitation and descent remains notoriously incomplete, left over for the projected but never completed “great book on the constructive philosophy.” 4 Thus, the procedure initiated in the philosophical [End Page 125] theses of chapter twelve having been arrested, the project of chapter thirteen, “in which the results [of the theses] will be applied to the deduction of the imagination, and with it the principles of production and genial criticism in the fine arts,” 5 is left as a fragmentary exposition in the hugely influential but attenuated and gnomic sequence of distinctions between primary and secondary imagination, and fancy.Consequently, students of Coleridge have been left to puzzle over the “missing” argument for themselves and to explain why Coleridge seems to give up at this point. At least since Thomas McFarland’s Coleridge and the Pantheist Tradition it has been accepted that a significant part of the problem lies with the “counter-pull” 6 exerted upon Coleridge’s thought at this point in time between Kant and Schelling (or, as McFarland sees it, between Kant and Schelling / Spinoza). In other words, it is the pull between a system in which free will is preserved at the price of being declared noumenal and one in which free will is imperilled but set against the goal of a system of total and undivided philosophy at ease with the infinite. The difference between the methodologies of Kant and Schelling, as Gian Orsini noted, is the product of their contrasting first postulates, or philosophical starting-points. While Kant sets out from the epistemological problem of to what extent objects can be said to conform to human knowledge, Schelling asks, “do we deduce Mind from Nature or Nature from Mind?” 7 Each of these presumes a completely different kind of enquiry from the other, and thus a different method; a fact Coleridge appears to have fully appreciated only during the composition of the Biographia.The Biographia’s problems have provoked a diverse range of critical responses over the years. 8 Among these, however, there is a more or less settled [End Page 126] opinion that Coleridge’s failure at this stage to come to terms with the Kant / Fichte / Schelling debate merely added to the difficulty of a work which, having begun its life as a reply to and a rebuttal of Wordsworth’s empirical and associative definition of imagination as set out in the Preface to his Poems (1815), had already far exceeded its initial plan both in scope and size. As the statement of his poetic principles and critique of Wordsworth had turned into a literary life, and this into a broader exploration of his developing views on epistemology, religion, and the history of language, so the “Preface” to the Sibylline Leaves (as it had originally been conceived) now dwarfed that work. Coleridge’s printer’s decision to produce the Biographia in two volumes only served to emphasize the break between its “philosophical” and literary-critical planes and the failure of Coleridge’s declared intention to apply the rules of art, “deduced from philosophical principles, to poetry and criticism.” 9Yet there was always something... (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

In October 2015 I supervised a series of séances in Hanau, Germany with Felix Circle physical medium Kai Mügge. The purpose was to try to obtain better documentation of Kai’s table levitations than my team was able to achieve in Austria in 2013 (Braude, 2014). Although that goal was not met over the course of four séances, we nevertheless witnessed some interesting phenomena that are difficult to explain away normally given the control conditions imposed at the time. These include object (...) movements beyond the reach of the sitters, a very strange “exploding” sound from the séance table, and some extended levitations in which the table seemed to sway or swim in mid-air. But what may be most interesting about this series of séances is the way the phenomena reflect the complex, and tortured, underlying psychodynamics of the occasion. Indeed, what readers need to know about the FEG phenomena has as much to do with personalities involved as with the phenomena themselves. As a result, this report focuses as much on the background to the investigation as on the investigation itself. (shrink)

This self-published volume is a valuable and natural successor to Grosso’s earlier The Man Who Could Fly: St. Joseph of Copertino and the Mystery of Levitation, which I reviewed very favorably in JSE 30-2 (2016): 275-278. In the earlier work, Grosso presented the amazing essentials of the career of the Flying Friar, including some detailed descriptions from eyewitnesses extracted from contemporary sources (including Bernini). In this book, Grosso performs the additional valuable service of providing an abridged translation of the most (...) important contemporary biography of Joseph, a book brimming with compelling detailed eyewitness accounts, many taken verbatim during Joseph’s protracted inquisition. Details always matter, but perhaps more so in a case so remote from the present day and so extraordinary with respect to the magnitude of the reported phenomena. I remind the reader that the case of St. Joseph provides the earliest outstanding evidence for human levitation and quite possibly the best from any era. The levitations were observed by thousands of people, often near at hand, in flight (not simply at his destination) and in daylight. Moreover, the reports often converge on fascinating and unexpected striking details—e.g., that Joseph’s clothes would not move during his flights, or that he would not extinguish candles as he flew among them. Moreover, Joseph reportedly caused many dramatic healings (again, richly detailed in Bernini’s Vita), and his apparent feats of ESP and bilocation are likewise astounding and difficult to dismiss. So this volume takes us more deeply into the life and character of Joseph and regales us with a great deal more material about the phenomena themselves. In my view, this book is indispensable for students of macro-PK and spontaneous psi generally, and (needless to say) especially so for those who can’t read Bernini in Italian. (shrink)

Priests and Levites in Jerusalem.—Revolution conducted by Jehoiada.—Regency of Jehoiada.—Reigns of Jehu and his son.—Dispersion of Judah and Israel.—Repairs of the Temple.—Prophecy of Joel.—Peace is bought of Hazael.—Invasion of Idumæa.—Decline of Damascus.—Victorious career of Jeroboam II.—Internal state of Israel.—Prophecy of Amos.—Uzziah’s long prophecy.—Internal state of Judæa.—Genealogies of the High Priests.

Events that violate the laws of nature are, by definition, impossible, but recent research suggests that people view some violations as “more impossible” than others. When evaluating the difficulty of magic spells, American adults are influenced by causal considerations that should be irrelevant given the spell’s primary causal violation, judging, for instance, that it would be more difficult to levitate a bowling ball than a basketball even though weight should no longer be a consideration if contact is no longer necessary (...) for support. In the present study, we sought to test the generalizability of these effects in a non-Western context – China – where magical events are represented differently in popular fiction and where reasoning styles are often more holistic than analytic. Across several studies, Chinese adults showed the same tendency as American adults to honor implicit causal constraints when evaluating the plausibility of magical events. These findings suggest that graded notions of impossibility are shared across cultures, possibly because they are a byproduct of causal knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Air of Liberty:A Transatlantic PerspectiveKieran M. Murphy (bio)"En somme le rôle du critique serait sans cesse de faire de l'air dans le plein du monde mais non pas forcement de faire du vide."—Roland Barthes"Dèyè mòn, gen mòn" ["Behind mountains, there are mountains"]—Haitian proverbThe phrase "I can't breathe" has become a worldwide rallying cry against injustice. Ben Okri deems "I can't breathe" the "mantra of oppression" that should "spark (...) the real change our world so desperately needs." He attributes the phrase's remarkable impact to how it taps into our primal fear of suffocation, encouraging empathy for "seemingly insignificant people." He also brings attention to how, as a slogan, "I can't breathe" subverts institutional racism through poetic means: "Not even William Shakespeare, Walt Whitman, James Baldwin or Toni Morrison at their most eloquent came out with anything as simple in the genius of its truth as: 'I can't breathe.'" This truth is airborne: "'I can't breathe' suddenly equates racism with the deprivation of air, which is what it always was." The chokehold of racism emerged with the transatlantic slave trade and, Okri concludes, has been ever since the prohibition of breathing "freedom."The powerful convergence of poetics and politics in the slogan "I can't breathe" comes from its essential truth: the aerial nature of freedom. More than just a concept or metaphor, freedom is also something you breathe. Freedom is a kind of concept-image that depends on our intimate, life-sustaining relationship with the atmosphere. "I can't breathe" brings attention to this relationship to help redress the failure of our institutions to bestow freedom equally.The aerial nature of freedom is even more apparent in the related slogan "the air of liberty." References to "the air of liberty" occurred frequently during the French Revolution to convey the origin of the "human rights" that have become the bedrock of our democratic institutions. Today, these human rights continue to exert their legal weight for the defense of equality. Yet, when confronted with the evasive mechanism of institutional racism, they keep falling short. This predicament is partly due to [End Page 200] their supposed airtight foundation. "The air of liberty" offers a window to the turbulent time when human rights sprang conspicuously from the atmosphere, that we can reopen to shift the focus from the legal to the aerial origin of freedom. This strategy unleashes historical winds that swept across the Atlantic world, including a critical undercurrent from the Haitian Revolution that prefigured the "I can't breathe" movement and its critique of the white chokehold on freedom. Click for larger view View full resolutionFigure 1.Detail of Jean-Jacques-François Le Barbier, Déclaration des droits de l'homme et du citoyen, circa 1789 (Source: Wikimedia Commons)The best-known depiction of the 1789 Declaration of the Rights of Man and of the Citizen (Fig. 1) portrays the origin of liberty in a scene unfolding in the sky. Spreading its light and dissipating the clouds of error, the Enlightenment's eye of reason levitates like an aerostat. Its liberating power illuminates the law symbolized by a winged figure pointing to the tablets below containing the articles proclaiming that "men" are born free and equal. Despite the prominence given to the eye of reason, it is in the atmosphere in which it elevates that we must look for the elemental spring of liberty.References to the aerial nature of liberty most intriguingly surfaced in contemporary debates concerning the universality of the Declaration of the Rights of Man. The revolutionary and abolitionist Jacques Pierre [End Page 201] Brissot characterized the 1791 slave rebellion that ravaged the colony of Saint-Domingue (now Haiti) as a fight for a purer, healthier air. In a speech delivered the same year at the National Assembly, he argued that, following the storming of the Bastille and the Declaration of the Rights of Man, the "atmosphere" of inequality hovering over the plantations of Saint-Domingue had become noxious not only for the enslaved but also for the troops that France might dispatch to restore order in the colony... (shrink)

The case of the Brazilian medium, Carlos Mirabelli, is one of the most tantalizing and frustrating in psychical research. If his phenomena—especially his psychokinetic manifestations—occurred as reported, he was probably the greatest physical medium of all time. Mirabelli reportedly moved objects (including very large objects) at a distance, levitated himself while bound to a chair, and dematerialized and transported to another location objects of all kinds (including himself). Mirabelli also reportedly produced full-figure materializations in bright daylight. Sitters would watch them (...) form; attending physicians would carefully examine them for up to 30 minutes and report ordinary bodily functions; photographs of the figures would be taken; and then they would slowly dissolve or fade before everyone’s eyes. However, Mirabelli was also clearly guilty of fraud on occasion, including his notorious doctoring of a photo ostensibly showing him to be levitating. His case therefore presents an all too familiar challenge to psi research—namely, how to assess cases of so-called “mixed” mediumship. (shrink)

Soon after modern spiritualism announced itself with the “Rochester knockings” of 1848, tables took on a new and controversial life. No longer were they content to live out their days impassively upholding dishes and glasses and silverware, vases, papers and books, bibelots, elbows, or weary heads. They were changed: they began to move. Tables all over the United States and then in England, France, and other countries commenced rapping, knocking, tilting, turning, tapping, dancing, levitating, and even “thrilling”—though this last was (...) uncommon. So Mrs. Sophia Elizabeth De Morgan said in her discussion of Daniel Dunglas Home, probably the most famous nineteenth-century medium:It is only in Mr. Home’s presence that I have witnessed that very curious appearance, or process, the thrilling of the table. This takes place for some seconds, perhaps more, before it rises from the floor. The last time I witnessed this phenomenon, an acute surgeon present said that this thrilling, the genuineness of which was unmistakable, was exactly like what takes place in that affection of the muscles called subsultus tendinum.2And the tables did still more. Their actions were a language; and so they came to symbolize “the ‘movement,’ as it has been called,”3 of modern spiritualism. Spirits had chosen the table as an organ of speech.Tables were customarily viewed as objects of economics, aesthetics, utility, diversion, tradition, even theology . Now, though, as Professor De Morgan jokes, “London and Paris were running after tables in a new sense.”4 Tables had become a different kind of thing. Whatever one might think about reports of spiritual communications, the conception of tables had changed. They had become moral objects. 2. C. D. [Mrs. Sophia Elizabeth De Morgan], From Matter to Spirit. The Result of Ten Years’ Experience in Spirit Manifestations, with a preface by A. B. [Augustus De Morgan] , p. 27. Daniel Cottom is an associate professor of English at the University of Florida. His most recent books are Social Figures: George Eliot, Social History, and Literary Representation and Text and Culture: The Politics of Interpretation . This essay is adapted from a work in progress on spiritualism and surrealism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AsphyxiationsSteven Connor (bio)Recent events and sociorhetorical expatiations upon them have reaffirmed breathing as the ideal form of free and unimpeded life, that struggles against the throttlings of oppression. The root meaning of oppression, from the past participle of Latin opprimere, is to press, crush or bear down upon, and the word oppression has commonly been used to signify the feeling of the difficulty of breathing, through some constriction or (...) pressure, as in the nocturnal attentions of the nightmare, the spirit imagined as settling suffocatingly on the chest of the sleeper. As a mare that rides rather than being ridden, the spirit is often imagined as a female succubus, though in Fuseli's 1781 painting the mare is accompanied by a simian incubus who squats on the chest of a female sleeper, prompting these lines from Erasmus Darwin:So on his Nightmare through the evening fogFlits the squab Fiend o'er fen, and lake, and bog;Seeks some love-wilder'd maid with sleep oppress'd,Alights, and grinning sits upon her breast.(Darwin 2.16)'Pressing' meant the forcing of somebody into some condition or service, typically the army or navy. In oppressive weather, the clouds may seem to 'lower', or the humid air to cramp and confine the body.We think of breathing as opening or release, of a piece with open windows and unbounded spaces. Human beings have brewed up fantasies for centuries of more complete modes of breathing that would overcome the constriction represented by the respiratory apparatus, exhorting themselves and each other to breathe more deeply, suffusing, not just the lungs, but the diaphragm, the head, and other items of phantasmal physiology. Indeed, the factitiously hollow spaces of the body–the head that we seek to keep 'clear'–are the proof of the belief in the strange principle of vital vacuity, the idea that we exist most fully in empty spaces of innerness, bodily enclosures evacuated of body. Without this sense of the animating function of the breath, the body suffers the inanition of a "want of living [End Page 74] breath in its lungs, which are full of gases but empty of spirit" (Wilkinson 78). In being taken in and given out, breath seems to commute between what Wittgenstein calls "two kinds of worlds, worlds built of different materials." The fact that "the mental world in fact is liable to be imagined as gaseous, or rather, aethereal," seems to Wittgenstein to be related to "the queer role which the gaseous and the aethereal play in philosophy,–when we perceive that a substantive is not used as what in general we should call the name of an object, and when therefore we can't help saying to ourselves that it is the name of an aethereal object" (Wittgenstein 47). The conception of the soul as an afflatus, or a special kind of magic gas, which has been common among so many different peoples, suggests just this kind of aethereal object-that-is-not-one. It embodies the conviction that we are most essentially present as ourselves where we are closest to being nothing, in an out-of-body kind of body.We breathe out–phew, originally in the seventeenth century a violent expression of disgust or emancipatory emptying, as we might nowadays plosively and purifyingly say poo–when we 'ex-press', as we say, our sense of being, as we also say, 'relieved,' from re + levare, to lift up, implying a lightening, or levitation, that approaches in imagination the condition of air itself. To ventilate is to levitate. To be relieved is to dream of remission from the clinging pressure of your own embodiment, as though you could simply emit or expel your own weight. To inhale is to prepare for stress and struggle: to exhale is to relax, to sigh into satisfaction, converting becoming momentarily to being. Exhalation is therefore the decorporizing of the body, or the corporealization of the incorporeal. But though human beings exalt imaginary emptying, as the purifying expulsion of what is evil, infective, invasive, persecutory, expiration is also death. Speech is the expressive sound formed from the impressing of exhaled breath, the dissolving openness of air given imaginary... (shrink)

As a tribute to Marie-Agnès Cathiard, this opening text which aims to recount the story of a journey and researcher’s commitment places her work around the major themes that structured it. “From the body of speech to imagined bodies”, its contributions and experimental investigations, attentive to the innovations of neuroscience, have influenced the center’s policy in terms of anthropological research, breaking down innovative avenues, particulary on the imagination of the brain and the amputated body. Her contributions have enabled the conjunction (...) between cognitive sciences and research on the imagination, between biology and culture. Her work has rethought mental images in the light of neurology. They considered the connectomes of the imagination associated with certain image complexes (levitation, alien presence). They compared the contributions of neuroscience to the most ancient mythological phenomenologies, developing a transalpine neurocognitive anthropology. Marie-Agnès’research has opened the way to a neural status of the imagination, a real epistemological upheaval. This reconstruction enterprise, more narrative than conceptual, nevertheless allows us to underline the importance of her pioneering work in cortical mapping. Being part of the lineage of Gilbert Durand whose hypotheses she corroborates (primacy of images in cognitive operations, biological rooting of images), she has made it possible to take a new look at this heritage and to breathe new life into it. (shrink)

In the Summer 2014 JSE issue (Volume 28:2), we published two long reports, by Michael Nahm and myself, on the investigation of physical medium Kai Mügge and the Felix Circle. Those papers were revised versions of papers, ready to be published earlier, but scuttled when evidence of fraud was uncovered in the case. Nahm and I reached different conclusions about Kai’s mediumship as a whole. He felt that the majority of Kai’s phenomena were probably fraudulent. I was not ready to (...) go that far. In any case, whatever our intuitions might have been about the extent of Kai’s cheating, we both agreed that some of his phenomena were still very difficult to explain away—and indeed had not been adequately explained away. I believe it’s fair to say that however large or small that residue of legitimacy may be, Nahm and I agree that it at least includes table levitations. Since that JSE issue was published, there have been further developments in the case. Some of these, from an investigation I supervised in October of this year, I hope to present at length in a future issue of the JSE. The rest concern some incidents that occurred relatively soon after the appearance of our original reports, and which should be mentioned now without further ado. The item of greatest interest, no doubt, will be the testimony—quoted below—describing how at least one instance of Kai’s cheating was uncovered. (shrink)

Recent Anglophone scholarship has successfully shown that Nietzsche's thought makes important contributions to a wide range of contemporary philosophical debates. In so doing, however, scholarship has lost sight of another important feature of Nietzsche's project, namely his desire to challenge the very conception of philosophy that has been used to assess his merits as a philosopher. In other words, contemporary scholarship has overlooked Nietzsche's contributions to metaphilosophy, i.e. debates around the nature, methods, and aims of philosophy. This important new collection (...) of essays brings together an international group of distinguished scholars to explore and discuss these contributions and debates. It will appeal to anyone interested in metaphilosophy, Nietzsche studies, German studies, or intellectual history. (shrink)

Throughout the history of Indian religions, the ascetic figure is most closely identified with power. A by-product of the ascetic path, power is displayed in the ability to fly, walk on water or through dense objects, read minds, discern the former lives of others, see into the future, harm others, or simply levitate one's body. These tales give rise to questions about how power and violence are related to the phenomenon of play. Indian Asceticism focuses on the powers exhibited by (...) ascetics of India from ancient to modern time. Carl Olson discusses the erotic, the demonic, the comic, and the miraculous forms of play and their connections to power and violence. He focuses on Hinduism, but evidence is also presented from Buddhism and Jainism, suggesting that the subject matter of this book pervades India's major indigenous religious traditions. The book includes a look at the extent to which findings in cognitive science can add to our understanding of these various powers; Olson argues that violence is built into the practice of the ascetic. Indian Asceticism culminates with an attempt to rethink the nature of power in a way that does justice to the literary evidence from Hindu, Buddhist, and Jain sources. (shrink)

What do we do with Judges? This two-edged word? This ambidextrous book? These ambivalent heroes? The Judges were drawing their last fleeting breaths shipwrecked and scattered upon the shores of historical-critical-grammatical-linear-modernist-masculine interpretation. "The narrative is primitive," they said. "The editors have made a mess," they exclaimed. "The conclusion is really an appendix," another said. Then the bible-acrobats jumped in pretending there was no literary carnage while at the same time drawing our eyes away from the literary carnage. "No, no, there (...) is an order to this disorderly book!" "Gideon is a man of faith," they explained. "Gideon is a sham," others retorted. "Long live the king," they cried. "Oh no, the king will bring down the nation," others said. Enter the latest literary critics and the fresh feminist readers to save the day. And save they have. Barry noted the irony. Cheryl called attention to the elaborate, spiraling labyrinth. Phyllis remembered the forgotten. Mieke heralded the incoherence. Deborah the Bee slings Barak with irony. Cowardly Jephthah sacrifices his virgin daughter immediately after he is filled with the spirit. Blind Samson remains stuck in some adolescent, Pinnochio-like stage milling around the same old vices. The Levite, the man of word and sacrifice, lies to the people and dismembers his wife. To beat it all the myopic narrator joins in lock step with the other blind characters stumbling around in the narrative. What manner of text is this? These Judges, these stories, are even more troubling now that we take them seriously. Now what do we do with Judges? The recent scholarship is most promising, but I think we must press forward, or is that backward, or perhaps to another plan. Perhaps Judges hearkens forward to the postmodern. What would Judges look like if we viewed the story through a postmodern lens? Would we see the text in another dimension? Would we let the characters live and breathe as confusing, confounding, intricate characters? Judges speaks to me. These judges, they teach me. How can I ever forget my reading of Judges? For once I found a text reflecting the madness of faith in my maddening world. For once I saw a text like Pablo. I heard the echo of Umberto. I noted the faint murmurings of Jacques. I danced a most joyous jig with Julia. I saw, up ahead, or was that behind me, or over to the side, Martin's flickering candle. Mieke, meet Jael. Barak, meet Barry. Jacques, meet Gideon. Samson, meet Martin. Umberto, meet the narrator or two or three. Pablo, meet the Levite's wife---sorry, she has no name. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Deaconesses and Ritual ImpurityCatherine Brown TkaczCultural diversity underlies the differences between deaconesses of the East and of the West.1 In the West, women were recognized by their faith as able to catechize others and to assist women at baptism; in some parts of the East, only a deaconess could take these roles. Again, only in some areas of the East, women at certain times were not permitted to enter (...) the church building, but deaconesses could take the Eucharist to these housebound women. In religious life, corresponding differences existed. In the West, nuns were fitted by their vows to take various roles in the Liturgy of the Hours; in the East, in some areas, only a diaconal abbess could take these roles. In remote monasteries which might lack a priest for some time, the diaconal abbess could distribute pre-consecrated communion to the community. Long has cosmic dualism been recognized as a trait of the Eastern groups that had deaconesses. Now another trait can be identified: [End Page 187] apparently the groups which retained the Levitical laws of ritual impurity were the ones that needed the gender-specific ministry of deaconesses. Examining the theological and cultural context in which that office arose helps explain this varied history. Next, the Western deaconess is most clearly limned by comparing the pertinent Latin ceremonies. This also sheds unexpected light on how the Roman Catholic Church protected the property rights of consecrated women.The Context in Which Deaconesses AroseJesus taught a new doctrine: the call to sanctification: "Be perfect as your Father in heaven is perfect" (Matt 5:48). Again, he commanded them to imitate him, to take up their cross daily and follow him (Luke 9:23). The post-Gospels New Testament continued to suggest ways for the believer to imitate Christ (for example, Heb 13:10–15). These teachings ground the doctrine that every human person is called to be holy and like Christ. To ensure that his followers knew that this vocation to holiness concerns women equally with men, Jesus demonstrated and emphasized the spiritual equality of the sexes throughout his time on earth.2 In an unprecedented way, he provided balanced examples of male and female in his interactions with men and women, in his healings, resurrection miracles, parables, and prophecies.3 In contrast, in the Old Testament and in the Jewish Haggadah, [End Page 188] paired male and female examples are "quite rare."4 While Tannaite Jews "exempted" women from reciting Shema and other acts of ritual worship and required only domestic devotions, Jesus elicited a public profession of faith from a woman as well as from a man—Peter (John 6:69) and Martha of Bethany (John 11:27)—and hers proves to be fuller.5 This dynamically demonstrated the spiritual equality of the sexes, and Eustathios of Antioch, Chrysostom, Augustine, and others praised Martha for teaching the faith.6From the start, both men and women were instructed in the faith, baptized, and received communion.7 Women also participated with men in evangelizing others. This began at Jesus's presentation in the Temple, his first public appearance, when the prophetess Anna announced the coming of the Messiah (Luke 2:36–38). The Samaritan woman evangelized her community: as soon as she learned of Jesus through conversation with him, she actively instructed others, so that many believed in him "because of the woman's testimony" (John 4:28–30, 39–42). The evangelical work of Priscilla was reported, with the account of her teaching a man (Acts 18:2, 26). That is, Christians interacted without a strict segregation of the sexes. When the apostles learned of neglect of the Greek widows, they obviously did not think that only other women could respond to this social need, for the apostles appointed men to do so (Acts 6:1–6).8Contrast this to the Jewish understanding of the roles of men and women. In the Temple, only Jewish men were allowed inside; women were relegated to the women's court. This segregation continued in medieval synagogues.9 [End Page 189] Likewise, as noted above, the Tannaite Jews "exempted" women from public worship. In Christian churches, however... (shrink)

Contextual Bible Reading (CBR) and Intercultural Bible Reading (IBR) have enabled the cooperation between socially engaged scholars and marginalised groups to find new resources in biblical texts to interpret their contexts and fight against the surrounding violence. As the use of these two methods has not been the object of a comparative study based on concrete experiences, this article presents them through four cases of Christian communities in Colombia. This comparative study not only illustrates the differences between these two methods (...) of Bible reading, but also shows how they open new hermeneutic and liberation perspectives in the struggle for social justice and the search for reconciliation. The article depicts the CBR of the story of the Levite’s concubine (Jdg 19:1–30) by a group of women living in vulnerable conditions as well as the CBR of the parable of the father and his two sons (Lk 15:11–32) by a group of violence victims’ relatives. It also depicts the IBR of the story of the widow and the judge (Lk 18:1–8) by four groups of Caribbean readers as well as the IBR of the garden story (Gn 2:4b–25) by two Andean indigenous groups. Ordinary readers’ central role as interpreters of biblical texts let them recognise their own capabilities to transform their contexts in an emancipatory way and challenge biblical scholars and theologians. Even though CBR and IBR pursue different hermeneutical goals, they converge in giving a central role to the community as the subject of counter-hegemonic interpretations that open new horizons starting from reality and triggering liberation processes. Contribution: Beyond their differences and tensions, CBR and IBR are inclusive and dialogical methods intended for liberation that should be used to transcend the limits of dominant interpretations of biblical texts as well as the isolation of marginalised ordinary readers. (shrink)