A crow sat in a tree holding in his beak a piece of meat that he had stolen. A fox which saw him determined to get the meat. It stood under the tree and began to tell the crow what a beautiful big bird he was. He ought to be king of all the birds, the fox said, and he undoubtedly would have been made king, if only he had a voice as well. The crow was so anxious to prove (...) that he had a voice, that he dropped the meat and croaked for all he was worth. Up ran the fox, snapped up the meat, and said to him: ‘If you added brains to all your other qualifications you would make an ideal king.’. (shrink)

Kierkegaard is often praised for his poetic writing style. Throughout his works, especially his pseudonymous ones, he often breaks from philosophical prose and instead uses extended metaphors, fairy tales, parables, and allegories. This book, which is the first that directly addresses Kierkegaard's parables, argues that they help the reader undergo transformative change. It asks why Kierkegaard uses parables in a broad sense, how they function as a form of indirect communication, why Kierkegaard must remain secretive about the (...) purpose of the parables, and how this secrecy plays an important role in Kierkegaard's authorship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Parables of Narrative ImaginingDavid Herman (bio)Mark Turner. The Literary Mind. Oxford: Oxford UP, 1996.The literary mind? The literary mind? The literary mind? Any which way you parse it, the title of Mark Turner’s provocative, elegantly written study seems to beg important questions, assume things that do not by any means go without saying. First parse: is there in fact a literary (part of (...) the) mind? That is, is there some nondiscrete but semi-autonomous module of cognitive capacities required for using and understanding literary discourse—a module that takes information (as its input) from other modules, operates on that information in some way, then feeds the transformed information (as its output: “literature”) into yet other modules, which in turn take that information as their input? 1 Second parse: assume that there is some module involved in the production and interpretation of literary discourse. Then of what nature, exactly, are the operations performed within that module, and how do they operate on the input in a way that makes the output specifically literary? How precisely is literature born from this process or set of processes? Doesn’t this kind of account suffer from all the disadvantages (inexplicitness, for example) that it inherits from its parent model, the black-box explanation? Third parse: should we even be talking about “minds” at all in connection with literature and the study of literature? Hasn’t “The Intentional Fallacy” and everything that has happened since in the fields of critical and cultural theory—from Marxism and poststructuralism to New Historicism and cultural studies—taught us to center critico-theoretical discourse anywhere but in “the mind”? Hasn’t all this research exposed the mind (of the author, reader, subject, or postsubject, as the case may be) as a construct with more or less noxious political and cultural properties? Are not the discourses of and about the mind so many strategies of interpellation—vehicles by which ideology can work to implant the illusions of inviolable inwardness, unchanging essence, and predetermined identity within a subject that takes such imagined realities to be its real conditions of existence? 2Turner does not directly address any of these questions—at least in the way that I have framed them. That may be grounds for criticism: if you are using a title that can be construed as polemical, then the onus is on you to explain just how the title positions your work in a wider context of argumentation. But at the same time, Turner’s analysis reformulates the underlying problems to which some of my questions point, thus raising [End Page 20] other, equally important issues. Coming to terms with these other issues may change the way we ask questions about things like literature and the mind. Specifically, as part of a larger “cognitive revolution” now unfolding in social-scientific and humanistic disciplines ranging from linguistics to literary and narrative theory, Turner’s book provides ample reasons for not thinking the idea of mind tantamount to an ideology of mind. 3 After all, reducing mind to an ideology of inwardness leaves unexplained any number of basic facts about perception, cognition, and language processing. There is, for example, our ability to use “image schemata” such as motion along a path and bounded interior to make sense of events like milk being poured into a cup, on the one hand, and contained spaces like the ones inside bottles, heads, and houses, on the other hand [Turner 16]. Relying on such schemata, I don’t regularly try to pour wine into a cutting board or to measure, in miles per hour, the speed of an asparagus stalk as it sits on the kitchen counter.There is also—to invoke a slightly different cognitive-scientific vocabulary—our ability to make predictions about emergent situations and sequences of events on the basis of prior, stereotypical situations and sequences stored in the memory as knowledge representations sometimes called frames and scripts [see Schank and Abelson]. For example, the script associated with making a purchase guides me in my interaction with the person at a cash register, such that I can make seemingly effortless predictions about what this person wants me to do... (shrink)

We usually consider literary thinking to be peripheral and dispensable, an activity for specialists: poets, prophets, lunatics, and babysitters. Certainly we do not think it is the basis of the mind. We think of stories and parables from Aesop's Fables or The Thousand and One Nights, for example, as exotic tales set in strange lands, with spectacular images, talking animals, and fantastic plots--wonderful entertainments, often insightful, but well removed from logic and science, and entirely foreign to the world (...) of everyday thought. But Mark Turner argues that this common wisdom is wrong. The literary mind--the mind of stories and parables--is not peripheral but basic to thought. Story is the central principle of our experience and knowledge. Parable--the projection of story to give meaning to new encounters--is the indispensable tool of everyday reason. Literary thought makes everyday thought possible. This book makes the revolutionary claim that the basic issue for cognitive science is the nature of literary thinking. In The Literary Mind, Turner ranges from the tools of modern linguistics, to the recent work of neuroscientists such as Antonio Damasio and Gerald Edelman, to literary masterpieces by Homer, Dante, Shakespeare, and Proust, as he explains how story and projection--and their powerful combination in parable--are fundamental to everyday thought. In simple and traditional English, he reveals how we use parable to understand space and time, to grasp what it means to be located in space and time, and to conceive of ourselves, other selves, other lives, and other viewpoints. He explains the role of parable in reasoning, in categorizing, and in solving problems. He develops a powerful model of conceptual construction and, in a far-reaching final chapter, extends it to a new conception of the origin of language that contradicts proposals by such thinkers as Noam Chomsky and Steven Pinker. Turner argues that story, projection, and parable precede grammar, that language follows from these mental capacities as a consequence. Language, he concludes, is the child of the literary mind. Offering major revisions to our understanding of thought, conceptual activity, and the origin and nature of language, The Literary Mind presents a unified theory of central problems in cognitive science, linguistics, neuroscience, psychology, and philosophy. It gives new and unexpected answers to classic questions about knowledge, creativity, understanding, reason, and invention. (shrink)

Nigeria is an example of developing countries characterised by mass poverty in the midst of plenty. Coincidentally, the Nigerian church is stupendously rich. Pastor Emmanuel, a former National Coordinator of the Redeemed Christian Church of God, Germany, notes that the annual revenue of the Nigeria church in 2014 is over ₦3 trillion while surprisingly, the national budget is ₦4.69tn for the year. Gigantic buildings, exotic cars and private jets are the hallmarks of the church’s wealth. Some pastors acquire jets ranging (...) from ₦2.3 to ₦6.4 billion with additional ₦8.4bn for maintenance and salaries annually. Surrounded by this ‘affluence’ are thousands of poor, unemployed and barely surviving church members. This calls for the need to examine what Lukan Jesus would have wanted the church to do with her wealth. This article examines Lukan parables on the rich and the poor using narratological method. Thus, the parables’ context, the characterisation and the plot is analysed, including lexical-syntactical relationships. Finally, the lessons derived is used via socio-scientific reading of the Nigerian situation to arrive at a theology of social action for the poor. Most parables are open-ended, a literary device that ensures the readers take a decision, therefore the message focuses on the church rather than individual Christians. Contribution: The article recommends that church-owned institutions should make education accessible to the poor, rise against socio-economic policies that will impoverish people while seeking economic independence of the poor. Finally, the church should also integrate the differently-abled into the church. (shrink)

이 글은「화엄경의 문학성 연구」를 불교문학의 측면에서 접근하여『화엄경』에 내재된 문학성을 분석한 논문이다. 본 논문의 내용은 크게 2가지 측면에서 접근하여 분석해보았다. 먼저 제Ⅱ장에서는 불교와 문학과의 관계 교섭에 대하여 불교문학에 대한 이해와 불교전승의 특징과 화엄경에 대한 이해 그리고 문학과 불교의 접점을 중심으로 살펴보았다. 그리고 제Ⅲ장에서는 불교문학의 측면에서 분석한『화엄경』을 ‘화엄’ 이름에 담긴 문학적 비유와 산문체로 본『화엄경』의 특성 그리고 화엄경에 담긴 문학의 4가지 관점을 토대로 분석해보았다. 이러한 분석을 통해 알 수 있는 사실은「화엄경의 문학성 연구-불교문학으로 분석한 화엄경」에 담긴 불교문학은 불교적 소재를 주제로 삼아 작가가 문학적으로 풀어 (...) 낸 것과 연관 지을 수 있는 개념이다. 따라서 문학과 불교를 교섭하면서 불교라는 종교적 성격과 영역을 해명하는 역할을 한다는 측면에서 중요하다는 것이다. 특히『화엄경』에는 삼독에 빠진 우리들의 내면을 정화하여 불성(佛性)을 회복하는데 도움이 되는 유익한 가르침이 담겨있다는 것을 알 수 있다. 따라서 불교문학으로 분석한『화엄경』에는 처음 바른 깨달음[正覺]을 이루신 교설이 다양한 문학적 장르와 비유, 형식 등으로 설해져 있다는 것을 확인할 수 있었다. 경전의 이름에 담긴 ‘화엄(華嚴)’이라는 비유적 표현은 모든 존재가 깨달음에 들어가기 위해서는 불교의 실천행인 보살도를 의보와 정보로 장엄해야 한다는 함의가 내재되어 있다. 이것이 바로 불교문학의 매우 유용한 가르침인 것이다. (shrink)

Literature has been dealing with modern work and its psychological and social consequences through two kinds of narrations: verismo/realism and symbolism. Jack London wrote incredibly penetrating pages from a psychological viewpoint with a veristic prose; Kafka widened the reflection with his symbolism and, particularly, through dreamlike parables. Kafka was not a passive and absent-minded employee. Recent studies on his working documents have shown considerable passion and professional competence. This expertise was poured into his literary works about work and (...) organizations with a direct knowledge. Kafka's symbolist style has been very effective in changing the way to see organizations. The writer particularly realized the growth of the exceeding population in recent years and could grasp the workers' psychology and deeper aspects when they face their superfluity and expulsion from the world of work. More specifically, Kafka was able to analyze psychological surrender to superfluity, which is mainly expressed with a specific form of “mental emptiness,” already described by London. (shrink)

Popular filmic and literary stereotypes of teachers from Brodie and Chips to Keating and Schneebly have not only reflected a public desire for radically innovative and perverse teaching practices, but also created those paradigms in ways that are not always readily identifiable or traceable. This article seeks to analyse tensions between traditional institutional protocols and contemporary populist opinion on the role of the effective teacher. In doing so, the article takes Peter Weir’s Dead Poets Society (1989) as a primary (...) example of those tensions and argues for a perverse ‘foolosophical’ view of pedagogical performance and a new appreciation for the necessity of ignorance in the classroom. Since ignorance and understanding are not taken as unambiguous antonyms, the article proposes that effective teaching and learning occur most effectively in the interstices between humility and hospitality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Norris IMAGE AND PARABLE: READINGS OF WALTER BENJAMIN Marxist literary criticism is a house with many mansions, most of diem claiming a privileged access to the great central chamber of history and truth. Only the most blinkered polemicist could nowadays attack "Marxist criticism" as if it presented a uniform front or even a clearly delineated target. Differences of oudook have developed to a point where debates within (...) Marxism are often more highly charged and polarized man anything brought to bear by its downright opponents. These differences will seem a crippling liability only from the viewpoint of a hard-line determinist creed which insists both on the rightness of its own reductive methodology and on a one-track notion of historical necessity and reason. The alternative, as New Left theorists have argued, is to examine the diversity of present-day Marxist thinking and show how its manifold traditions take rise from various backgrounds of political and cultural development. Perry Anderson's Considerations on Western Marxism is one such attempt to "situate" the work of thinkers like Sartre, Almusser, and Adorno in terms of their beleaguered position as left intellectuals outside the active mainstream of any revolutionary movement.1 Another example is Terry Eagleton's Criticism and Ideology, a book which sets out to rethink the bases of a Marxist-theoretical approach to English literary history.2 Eagleton, like Anderson, takes it as axiomatic that no such critique can get underway without first coming to terms with the problems and dilemmas which others have faced in trying to make new sense of a communal enterprise. For Eagleton this means a diagnostic treatment of the gaps and significant sUences which have marked the texts of those — like Arnold or Leavis — engaged in a class-based mystification ofliterary history and values. The critique extends to what Eagleton sees as the inbuilt problems of a homespun British Marxism, whedier of the crudely determinist variety (Caudwell) or the "left-Leavisite" amalgam of radical mêmes and traditionalist assumptions represented by Raymond Williams. Eagleton's approach lays claim to a power of unmasking die 15 16Philosophy and Literature latent ideology at work both in literary and critical texts. Ramer than simply collapse that distinction — as desired by the current post-structuralists, with whom he is wholly out of sympadiy — Eagleton strives to articulate the different structures and relations of discourse which situate criticism vis-à-vis literary history. He proposes a Marxist "science of the text" which would bring out its ideological modes of production, inscribed in the twists and unconscious blind-spots of meaning where a project comes up against its own impossibility. Criticism "deconstructs" the literary text, but not (like the Yale deconstructors) with a view to breaking down all possible distinctions between literature and commentary, merging both in the infinite freeplay of signs. For Eagleton there is indeed a knowledge of die text which stands at a definite remove from its object, just as literature itself"works" and transforms the raw stuffoflived ideology, mus offering it up to critical knowledge. Eagleton's theory of literary production was worked out in response to a powerful new current of Marxist thought, associated mainly with the French philosopher Louis Akhusser. What mis program involved, very briefly, was a rigorous re-reading of Marx's texts, aimed at defining their precise theoretical structure and die place within mem of such concepts as "knowledge," "ideology," and "structure" itself. Only thus could Marxist science attain the clarity and grasp of its own first principles which would set it apart from other, deviant or "ideological" discourses. This meant drawing a firm critical line (or "epistemological break") between the early, humanist Marx and the later productions —including Das Kapital— where his thought took on the full rigor of its scientific basis. Such a theory, in Althusser^ words, "makes it possible to distinguish a word from a concept, to distinguish the existence or non-existence of a concept behind a word, to discern the existence of a concept by a word's function in the dieoretical discourse...." 3 This structuralist reading of the Marxist text is intended as an immanent critique, a means of salvaging the essential Marx from fhose elements in his... (shrink)

This article offers a reading of the parable of the Dishonest Steward from the perspective of Greco-Roman status concern. It observes that the parable has a long and complicated history of interpretation. The different approaches in the reading of the parable reveal the unresolved quest in scholarship to establish a reading of the parable that takes into account both the steward’s act of generosity towards his master’s debtors and the praise that follows this action. This article proposes the Greco-Roman status (...) concern as a framework for understanding the meaning of the parable in its original context. Status concern was the spirit of tenacity in maintaining one’s status and honour against all odds characteristic of Greco-Roman honour and shame culture. The article argues that when the parable is read within its literary context, it reveals that at the heart of Jesus’ message in the parable is the theme of persistence as an attribute of authentic discipleship. This understanding of the parable resonates with the entrenched Greco-Roman spirit of status concern. The interpretation would also have been relevant to Luke’s Greco-Roman auditors living on the periphery of the Greco-Roman culture with the constant pressures to conform to the ethos of the larger social context. The steward’s resolve to maintain his status even in the most difficult circumstances provided a paradigm for those Christ-followers to remain steadfast in the faith against all odds. Contribution: The article presents an alternative interpretation of the parable of the Dishonest Steward. By proposing status concern as an interpretative framework, it offers both new insights into the socio-economic and socio-cultural realities of Luke’s world and the continuing evidence of the contribution of Greco-Roman world to the development of the New Testament texts. (shrink)

Parable is a literary genre. The knowledge of a literary parable makes us cognizant of the use of a technique used by the great philosophers to make known or transfer new ideas by making analogies or putting on one side a known fact to communicate a new or something incomprehensible. Jesus used the parable constantly, in his preaching and in the proclamation of the Kingdom of Heaven.

The parable “Before the Law” is a pivotal text in the work of Franz Kafka. It tells of a man who looks for the law as the quintessence of his life. But his quest for meaning comes to a crisis because of a fundamental deception. Instead of interpreting the law as a personal mystery, he somehow objectifies it. His abstract view on life begets the obstacle-character that embodies all those who could bar him from finding the law. In this narrative, (...) the failure of finding the law results in a murder in which human life is reduced to bestial death. In this sense, Kafka’s narrative is a tale of anti-creation. In a close reading we analyze the text with attention for the ternary structure, i.e. the intertwined complex of the I-Thou relation and the I-It relation. The literary text is interpreted for its philosophical relevance. Franz Rosenzweig and Emmanuel Levinas but also Gilles Deleuze and Jacques Derrida have an important role in this way of reading. (shrink)

Literary theory, newly conscious of its own historicism, has recently turned its attention to the history of interpretation. For midrash, this attention has arrived none too soon. The activity of Biblical interpretation as practiced by the sages of early Rabbinic Judaism in late antiquity, midrash has long been known to Western scholars, but mainly as either an exegetical curiosity or a source to be mined for facts about the Jewish background of early Christianity. The perspective of literary theory (...) has placed midrash in a decidedly new light. The very nature of midrash has now come to epitomize precisely that order of literary discourse to which much critical writing has recently aspired, a discourse that avoids the dichotomized opposition of literature versus commentary and instead resides in the dense shuttle space between text and interpreter. In the hermeneutical techniques of midrash, critics have found especially attractive the sense of interpretation as play rather than as explication, the use of commentary as a means of extending a text’s meanings rather than as a mere forum for the arbitration of original authorial intention. Some theoreticians have gone so far as to invoke midrash as a precursor, in a spiritual if not a historical sense, to more recent post-structuralist literary theory, in particular to deconstruction with its critique of logocentrism and the metaphysics of presence David Stern is assistant professor of medieval Hebrew literature in the department of Oriental Studies at the University of Pennsylvania. He is the author of Parables in Midrash: The Intersection of Narrative and Exegesis in Rabbinic Literature and coauthor, with Mark Jay Mirsky, of Rabbinic Fantasies: Imaginative Narratives from Classical and Medieval Hebrew Literature. (shrink)

Robert C. Neville, Dean of Theology and Professor of Philosophy, Boston University, in his comments on Chuang-Tzu for Spiritual Transformation for the State University of New York press: ‘The present outstanding volume by Robert Allinson ... initiates a new direction ... His new direction for understanding Chuang-Tzu is his comprehensive and detailed argument that Chuang Tzu was advocating an ideal of sageliness. Whereas many interpreters have claimed that Chuang Tzu used his metaphorical language to defend a relativism, Allinson shows with (...) convincing mastery that Chuang Tzu had a position, namely, the importance of achieving the ideal of sageliness ... he brings the discussion of Chuang Tzu into the heart of contemporary Western philosophy. Professor Allinson’s book, like his many articles, contributes to the growing body of literature that is creating an effective dialogue between Chinese and Western philosophy. The sophistication of this book demonstrates that the dialogue has worked and that we are in a new era of substantive comparative philosophy ... he also makes a substantial contribution to the philosophy of religion. Currently in its 8th impression, "Chuang-Tzu for Spiritual Transformation: An Analysis of the Inner Chapters" has been translated into Chinese and Korean. This book offers a fundamentally new interpretation of the philosophy of the Chuang-Tzu. It is the first full-length work of its kind which argues that a deep level cognitive structure exists beneath an otherwise random collection of literary anecdotes, cryptic sayings, and dark allusions. The author carefully analyzes myths, legends, monstrous characters, paradoxes, parables and linguistic puzzles as strategically placed techniques for systematically tapping and channeling the spiritual dimensions of the mind. Allinson takes issue with commentators who have treated the Chuang-Tzu as a minor foray into relativism. Chapter titles are re-translated, textual fragments are relocated, and inauthentic, outer miscellaneous chapters are carefully separated from the transformatory message of the authentic, inner chapters. Each of the inner chapters is shown to be a building block to the next so that they can only be understood as forming a developmental sequence. In the end, the reader is presented with a clear, consistent and coherent view of the Chuang-Tzu that is more in accord with its stature as a major philosophical work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Power of “Pliant Stuff”: Fables and Frankness in Seventeenth-Century Dutch RepublicanismArthur WeststeijnIn the preface to his 1609 collection of classical fables entitled De sapientia veterum (On the Wisdom of the Ancients), Francis Bacon vindicated his choice for such a playful genre. Although the writing of fables might seem just an “exercise of pleasure for my own or my reader’s recreation,” Bacon stressed that that was not the case. (...) On the contrary, he argued that “beneath no small number of the fables of the ancient poets there lay from the very beginning a mystery and an allegory.” Therefore, he continued, through such fables, “as sacred relics and light airs breathing out of better times,” hidden meanings can be exposed and made understood to unskilled ears and eyes. Indeed, “the employment of parables as a method of teaching, whereby inventions that are new and abstruse and remote from vulgar opinions may find an easier passage to the understanding,” shows that the fable serves as a very appropriate expedient for instruction and persuasion, the higher goals of rhetoric beyond simple entertainment and delight.1 [End Page 1]Yet, for all these noble purposes, Bacon could not hide his unease with those aspects of the fable which seemed to escape his pen’s command. Embarrassed by the “levity and looseness with which people indulge their fancy in the matter of allegories,” he acknowledged himself to have trod slippery ground. As he asserted: “I know very well what pliant stuff fable is made of, how freely it will follow any way you please to draw it, and how easily with a little dexterity and discourse of wit meanings which it was never meant to bear may be plausibly put upon it.” For Bacon, this intrinsic ambivalence of the fable gave rise to discomfort, and from the start he sought to remove any potential misunderstandings about his intentions. However, not all seventeenth-century writers of fables shared his concerns. Instead, the very nature of the fable as “pliant stuff,” as a genre which necessarily conveys meanings in an ambiguous, suggestive, and indirect manner, made it a particularly useful rhetorical device for those who would not or could not articulate their opinions openly.This article shows that a number of seventeenth-century authors deliberately employed the fable for its political expediency as an opaque prism to diffuse unconventional ideas that could undermine authority. Central in this overview are the Dutch merchants and fervent republican theorists Johan and Pieter de la Court, the main representatives of the radicalization of Dutch republicanism in the decades following the Peace of Westphalia. While most mainstream republicans in the Netherlands emphasized the need of a monarchical figure, a Stadholder, in the ideally balanced republican regime, the brothers De la Court claimed that such a monarchical element would necessarily entail tyranny.2 Their writings employed two different types of fables to substantiate this fundamental claim: the first based on the political allegories of the Italian satirist Traiano Boccalini, the second following the Aesopian tradition as exemplified by the famous [End Page 2] Dutch poet and playwright Joost van den Vondel. Through an analysis of the rhetorical role of these fables, this article attempts to shed more light on the reasons why fables were used in seventeenth-century republican thought. It will argue that the literary aspects of the fable cannot be separated from its political function, a function that eventually can be characterized as highly paradoxical: not in spite but because of its openness to different readings, the fable involved a disguised rhetorical plea for frankness and liberty of speech.Rhetoric and Fables: The Standing of an Emblematic GenreIn classical antiquity, when authors such as Aesop and Phaedrus had created a distinct genre of allegorical tales, the use of such fables had been as much reproved as their particular rhetorical force had been recognized. According to Quintilian, fables should not be a part of the linguistic armory of the truly decent orator, for fables “are specially attractive to rude and uneducated minds, which are less suspicious than others in their receptions of fictions and, when pleased, readily agree with the arguments from which their pleasure is derived... (shrink)

Kafka's novel The Trial, written from 1914 to 1915 and published in 1925, is a multi-faceted, notoriously difficult manifestation of European literary modernism, and one of the most emblematic books of the 20th Century. It tells the story of Josef K., a man accused of a crime he has no recollection of committing and whose nature is never revealed to him. The novel is often interpreted theologically as an expression of radical nihilism and a world abandoned by God. It (...) is also read as a parable of the cold, inhumane rationality of modern bureaucratization. Like many other novels of this turbulent period, it offers a tragic quest-narrative in which the hero searches for truth and clarity, only to fall into greater and greater confusion. This collection of nine new essays and an editor's introduction brings together Kafka experts, intellectual historians, literary scholars, and philosophers in order to explore the novel's philosophical and theological significance. Authors pursue the novel's central concerns of justice, law, resistance, ethics, alienation, and subjectivity. Few novels display human uncertainty and skepticism in the face of rapid modernization, or the metaphysical as it intersects with the most mundane aspects of everyday life, more insistently than The Trial. Ultimately, the essays in this collection focus on how Kafka's text is in fact philosophical in the ways in which it achieves its literary aims. Rather than considering ideas as externally related to the text, the text is considered philosophical at the very level of literary form and technique. (shrink)

Honoring the divine is central to Maimonides' ethical and religious phenomenology. It connotes the recognition of radical divine incommensurability and points to the hard limits of human ability to know God. Yet it also signals the importance of philosophical speculation within those limits, indicating the intellectual and ethical telos of human life. For Maimonides, to honor or show kavod to God is closely related to the meaning of the divine glory (also known as kavod ) that Moses demands to see (...) in Exodus 33. Moses' demand to see the kavod is usually interpreted as a quest for some visible sign of God's presence or, at least, for a created light whose existence could testify to the authenticity of Moses' prophecy. Maimonides is alone among early interpreters in treating Exodus 33 as a parable of the philosophical quest to apprehend divine uniqueness, which leads first to negative theology and then to imitatio Dei . This article argues that the theme of divine kavod links Maimonides' philosophical, literary, and even medical concerns with his practical religious teaching, and connects the Guide of the Perplexed with his other legal and interpretive works. Maimonides' consistent fascination with Exodus 33 helps to organize his reflections on human perfection, ethics, and the relationship between idolatry and everyday religious language, distinguishing him from dominant trends in both Judaeo-Arabic and later kabbalistic thought. (shrink)

The presented study uses the Lukan parable of the Good Samaritan (10, 27-35) in order to present the shifts in the meaning depending on the reading contexts. After the basic structure of the original meaning is established, the pragmatic nuances of the parable are illustrated. The research subsequently throws light on the paradigmatic interpretations in both the medieval and the contemporary contexts. It concludes by exemplifying that the polyvalence of meaning is not only dependent upon the genuine literary structure (...) of the parable, but also on the innate ability of the Christian organism (Church) to actualize certain features of the sacred text in the concrete life-settings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 385-406 [Access article in PDF] Some Thoughts on What Spinoza Learned from Maimonides on the Prophetic Imagination Part Two:Spinoza's Maimonideanism Heidi M. Ravven 1. Spinoza's Maimonideanism Now it is precisely with the belief that the prophets were philosophers and the Bible offers veiled insights into the central doctrines of philosophy, so powerfully argued and deeply held by Maimonides that he included (...) it as one of his Thirteen Principles of Jewish Faith the acceptance of which is a necessary condition of a share in the World to Come, 1 that Spinoza took strong issue. 2 At the same time, however, Spinoza agreed with Maimonides' doctrine [End Page 385] of the a. imaginative (literary) character 3 and b. the political function 4 of the Bible and of its authors and of the major prophetic figures. The quite obvious influence of Maimonides' account of prophecy upon Spinoza's account in the Tractatus Theologico-Politicus (TTP) has been widely recognized and commented upon. That is to say (although no commentator up till now, as far as I know, has made this point explicit), Spinoza adopted Maimonides' conception of prophecy as mimetic or productive and not only—or chiefly—as receptive. 5 The Maimonidean account of the (prophetic) imagination clarifies why the atomic fact model of the receptive function of the imagination is inapplicable to the TTP. The imaginative character of prophecy is not about picking up information (in a dream or otherwise) delivered from God; rather, it concerns how one understands (and presents) certain truths (in the case of Spinoza's notion of prophecy, namely, those of ethics and in Maimonides' those of science as well as of ethics) imaginatively rather than rationally, i.e., within a web of (narrative and symbolic) associations instead of within the deductive order of rational causal explanation. "Now we see," Spinoza, in the first chapter [End Page 386] of the Tractatus, 6 writes, echoing Maimonides (esp. Guide II, 47), "why the teachings of the prophets were nearly all in the form of parables and allegories, and why all spiritual matters were expressed in corporeal form, for this is more appropriate to the imaginative faculty." Prophecy does not consist in the simple reception of pieces of information transmitted directly from God. This is not what it is for Maimonides nor for Spinoza.Thus we find that Spinoza formally defines the prophet in the beginning of TTP, chapter i, as "one who interprets (interpretatur) God's revelations to those who cannot attain to certain knowledge of the matters revealed... For the Hebrew word for prophet is nabi, that is, speaker and interpreter (orator et interpres)." 7 The prophet is interpreter in imaginative terms, whether he reformulates belief imaginatively or instead merely understands it in that way himself to begin with. Prophecy is an imaginative (narrative, symbolic) rather than a philosophical (logical and demonstrable) type of understanding and presentation. If one looks at Spinoza's account of prophecy in TTP i, one finds that immediately after Spinoza defines prophecy, he then goes on to tell us what revelation is scientifically: "the nature of [the human] mind... is the primary cause of divine revelation." That is to say, the mind itself, whether rationally in intellectual thought or in its imaginative capacity and in both cases as itself a product of divine (i.e., natural) causes, supplies the content of revelation. 8 Spinoza then goes on to say that now that we have understood the true explanation of prophecy, we must return from this scientific understanding to the biblical account of prophecy. At that point he tells us that "the Jews never make mention of intermediate or particular causes nor pay any heed to them, but to serve religion and piety... they refer everything to God." Now this is a crucial passage and must be used as an interpretive principle for all that follows. (Spinoza illustrates the point in some detail at the end of the chapter where he lists the various... (shrink)

ABSTRACTThe early history of anthropology in eighteenth-century Germany wove together contributions from medicine, metaphysics, and a host of other disciplines in an attempt to develop a holistic ‘science of man.’ This paper examines a literary text written by prominent figure in that movement, Johann Gottlob Krüger’s Dreams. The collection of parables staged as dreams in this book presents specifically literary cases against the sufficiency of either philosophy or physiology for the study of human life as a whole. (...) Through close readings of a number of these dreams and related texts, this paper shows how Krüger’s Dreams advocates an approach to anthropology that recognizes the importance of literature for an interdisciplinary study of human life. More than simply recognising literary writing as another means of studying human life, the vision of a new anthropology implied in this book draws on literary devices to counter the overconfidence and partisanship of existing philosophical and medical theories of human nature. (shrink)

Developments and turning points in the interpretation of the parables of Jesus.Research into and interpretation of the parables of Jesus have in recent years attracted a tremendous amount of attention. In this article a survey is presented of the developments and the most important turning-points in the history of the interpretation of Jesus’ parables through all the ages of Christianity. A picture is drawn of the different stages of parable interpretation, starting with the allegorical method of interpretation, (...) through the historical, the moralistic, the eschatological and existential approach and up to the literary and pragmatic approaches of the last decade or so. Most attention has been given to the most recent developments, including some outstanding work amongst South African New Testament scholars. (shrink)

I argue that the main theme of the Zhuangzi is that of spiritual transformation. If there is no such theme in the Zhuangzi, it becomes an obscure text with relativistic viewpoints contradicting statements and stories designed to lead the reader to a state of spiritual transformation. I propose to reveal the coherence of the deep structure of the text by clearly dividing relativistic statements designed to break down fixed viewpoints from statements, anecdotes, paradoxes and metaphors designed to lead the reader (...) to a state of spiritual transformation. Without such an analysis, its profound stories such as the butterfly dream and the Great Sage dream will blatantly contradict each other and leave us bereft of the wisdom they presage. Unlike the great works of poetic and philosophic wisdom such as the Dao de Jing and the Symposium, the Zhuangzi will be reduced to a virtually unintelligible, lengthy, disjointed literary ditty, a potpourri of paradoxical puzzles, puns and parables, obscure philosophical conundrums, monstrous interlocutors and historical personages used as mouthpieces authoritatively arguing on behalf of viewpoints humorously opposite to what they historically held. (shrink)

Even as the philosopher can show us how to treat an object conceptually as a work of art, by regarding it in some context, so Cavell constantly implies that there are parables to be drawn about the way we treat the objects of our consciousness and the subjects of parts of it. But this special sort of treatment—like projective imagination itself—is not fancy or wit but more like a kind of epistemological fabling that is close to what Shelley called, (...) in A Defense of Poetry, "moral imagination." What is so powerful—and yet elusive of the nets of ordinary intellectual expectation—in The Claim of Reason is the way in which the activities of philosophizing become synecdochic, metonymic, and generally parabolic for the activities of the rest of life itself. It is the way in which the large , unphilosophical, "poetic," or "religious" questions are elicited from their precise and technical microcosms that makes so much of this book poetical, but not "literary," philosophy. When he writes of how tragedy "is the story and study of a failure of acknowledgment, of what goes before it and after it—i.e., that the form of tragedy is the public form of skepticism with respect to other minds"; or when, after brilliantly adducing The Winter's Tale in his consideration of Othello, he confronts the magic of Hermione's statue coming to life, he observes that "Leontes recognizes the fate of stone to be the consequence of his particular skepticism," the reader can perceive the kind of vast fiction in which minds, bodies, the privacy of insides, dolls, statues, and other representations figure as agents and elements. It will take longer to understand, I think, the imaginative significance of the earlier portions of the book. The philosophers who find its terrain familiar tend to have little patience with poetry; the reader whose sensibility is "literary" may be unable to distinguish between the arguments and examples, and the meta-arguments and examples, of the discussions of Wittgensteinian and Austinian method. Both kinds of readers should keep at it. John Hollander, a distinguished poet and critic, is professor of English at Yale. The author of The Untuning of the Sky: Ideas of Music in English Poetry, 1500-1700, Vision and Resonance: Two Senses of Poetic Form, and The Figure of Echo, his books of poetry include Spectral Emanations and Blue Wine and Other Poems. (shrink)

There are, of course, many important differences between the deployment of cultural authority in the social context of second-century Christianity and that of twentieth-century academia. The editors of the Norton Anthology, for example, do not actively seek to suppress those voices which they exclude, nor are their principles for inclusion so narrowly defined as were the church fathers’. But the literary academy and its institutions developed from those of the Church and continue to wield a derivative, secular version of (...) its social and cultural authority. Since Matthew Arnold, the instutition of literature has been described in terms which liken its authority to that of religion, not only by outsiders—Woolf’s woman “divining the priest”—but by insiders who continue to employ the stances and language of religious authority; see, for instance, J. Hillis Miller’s credo in a recent issue of the ADE Bulletin: “I believe in the established canon of English and American literature and in the validity of the concept of privileged texts. I think it is more important to read Spenser, Shakespeare, or Milton than to read Borges in translation, or even, to say the truth, to read Virginia Woolf.”9 Such rhetoric suggests that the religious resonances in literary texts are not entirely figurative, a point brought out strikingly by revisionary religious figures in feminist texts. In her recent essay “ ‘The Blank Page’ and the Issues of Female Creativity,” Susan Gubar cites as some of the “many parables in an ongoing revisionary female theology” Florence Nightingale’s tentative prophecy that “the next Christ will perhaps be a female Christ,” H. D.’s blessed Lady carrying a “Bible of blank pages,” and Gertrude Stein’s celebration of The Mother of Us All.10 The revisionary female theology promoted in literary writing by women implicitly counters the patriarchal theology which is already inscribed in literature. The prophesied female Christ, blank Bible, and female Creator revise images familiar in the literary tradition, and, in contrast to earlier appropriations of religious imagery by Metaphysical, Pre-Raphaelite, and other poets, make visible the patriarchal preoccupations of literary “theology.” These voices, like the Gnostic voices recovered at Nag Hammadi, are only now being heard in chorus; and Pagels’ study of “the gnostic feminism” helps to illuminate some aspects of a cultural authority predicated on the suppression or domination of other voices. Christine Froula, associate professor of English at Yale University, is the author of A Guide to Ezra Pound’s “Selected Poems” and of the forthcoming “To Write Paradise”: Syle and Error in Pound’s Cantos. She is currently working on a book about literary authority in James Joyce and Virginia Woolf. (shrink)

Nietzsche regarded 'Thus Spoke Zarathustra' as his most important work, and his story of the wandering Zarathustra has had enormous influence on subsequent culture. Nietzsche uses a mixture of homilies, parables, epigrams and dreams to introduce some of his most striking doctrines, including the Overman, nihilism, and the eternal return of the same. This edition offers a new translation by Adrian Del Caro which restores the original versification of Nietzsche's text and captures its poetic brilliance. Robert Pippin's introduction discusses (...) many of the most important interpretative issues raised by the work, including who is Zarathustra and what kind of 'hero' is he and what is the philosophical significance of the work's literary form? The volume will appeal to all readers interested in one of the most original and inventive works of modern philosophy. (shrink)

The well-known passage Mark 4:1-34 is no stranger to New Testament scientific scrutiny, not to even mention the hotly debated phrases in Mark 4:10-12. To avoid repetition, the aim with this article is to determine the extent of the impact the Isaiah 6:9-10 citation in Mark 4:12 might have had on the interpretation and understanding of Mark 4:1-34 and the Gospel as a whole. The theory is that the citation in Mark 4:12, especially within Mark 4:1-34, is foundational for understanding (...) the Markan gospel as a 'parable'. Moreover, the redactional inclusion of the concept of 'the Twelve' will prove to be a vital contribution in understanding the Markan gospel as a 'parable'. Arguing this theory will include evaluating the parable theory in Mark 4:10-12, followed by determining the interpretative effect the explicit citation in Mark 4:12 had on Mark 4:10-12 and its larger literary context. This will be followed by concluding remarks and suggestions. (shrink)

The book Maupassant (1976), which is devoted to an analysis of Maupassant’s short story “Two friends”, is one of A. J. Greimas’ most important works. In it he tried out the semiotic tools he had developed up to that point, tested models for narrative analysis, and anticipated future perspectives in the development of semiotic theory. We discuss how the book puts forward the principle of immanent analysis, and how the “closed” text – the object of semiotic analysis – is constructed. (...) Th e article reveals that while Greimas declares, in the book’s Foreword, that he is distancing from context – the literary sociocultural universe – within the analysis itself he is forced to recognize certain contextual elements. Greimas recognizes the importance of acknowledging contextual facts such as the French concept of patrie and does not attempt to hide certain subjective interpretive elements. Yet at the same time Greimas attempts to suppress context’s invasion of his interpretation. He recognizes the semantic isotopies generated by context to the extent to which they suit the coherence of his analysis, considering them auxiliary in terms of the syntactic and discursive structures of the text. Nevertheless, a contextual isotopy – based on intertextual ties to a Biblical parable – becomes the main one. We come to the conclusion that the principle of immanence in Maupassant is not a negation, but a problematization that demonstrates how relevant contextual material can be integrated into a semiotic analysis.Книга ≪Мопассан≫ (1976), посвященная анализу новеллы ≪Два друга≫ французского писателя XIX века, – один из главных трудов Альгирдаса Юлиуса Греймаса, в котором используются ранее созданные им инструменты семиотического анализа, проверяются и дальше создаются модели нарративного анализа, намечаются будущие перспективы развития семиотической теории. Автор статьи обсуждает, каким образом в книге постулируется принцип имманентного анализа и конструируется ≪закрытый≫ текст – объект семиотического анализа. В статье показывается, что несмотря на то, что в предисловии к работе Греймас декларировал отстранение от контекста – социолектического универсума литературы, в самом анализе Греймас вынужден принимать во внимание определенные элементы контекста, а некоторые из них интегрировать в интерпретацию новеллы. С одной стороны, Греймас признает необходимость считаться с данными контекста, такими как французское понятие родины, и не скрывает некоторых субъективных элементов интерпретации (опираясь на биографические данные, автор статьи обсуждает возможный генезис некоторых из этих элементов). С другой стороны, в то же самое время автор ≪Мопассана≫ старается совладать с ворвавшимся в интерпретацию контекстом. Генерируемые контекстом семантические изотопии он признает настолько, насколько они вписываются в когерентный анализ, и считает их вспомогательными по отношению к синтаксическим и дискурсивным текстовым структурам. Однако в кульминации анализа такая контекстуальная изотопия возвращается интертекстуальной связью с библейской параболой (притчей) и становится главной. Автор статьи делает вывод, что принцип имманентности в ≪Мопассане≫ не отрицается, но становится проблемным, показывая, как релевантные данные контекста могут быть интегрированы в семиотическую интерпретацию. Raamat “Maupassant”, mis on puhendatud 19. sajandi prantsuse kirjaniku novelli “Kaks sopra” analuusile, on uks Algirdas Julius Greimase tahtsamaid toid. Selles katsetas ta semiootilisi tooriistu, mille oli selleks ajaks valja tootanud, pani proovile narratiivianaluusi mudeleid ning jatkas nende loomist ja ennetas tulevikuperspektiive semiootikateooria arengus. Artikli autor vaatleb, kuidas selles teoses esitatakse immanentse analuusi printsiipi ja kuidas konstrueeritakse “suletud” teksti – semiootilise analuusi objekti. Artiklist ilmneb, et kui Greimas kuulutas raamatu eessonas, et ta distantseerub kontekstist – kirjanduslikust sotsiaalmajanduslikust universumist, on ta analuusis eneses sunnitud tunnistama teatavaid kontekstuaalseid elemente ning isegi loimima moningaid neist tolgendusse, mille ta loole annab. Uhest kuljest tunnistab “Maupassant’i” autor selliste kontekstuaalsete faktidega, nagu seda on naiteks Prantsuse moiste ‘patrie’, arvestamise tahtsust ega urita peita teatavaid subjektiivseid interpreteerivaid elemente (artikli autor kasutab nende voimaliku geneesi vaatlemisel biograafi list materjali). Ent samal ajal uritab Greimas alla suruda konteksti pealetungi oma tolgendusele. Konteksti loodud semantilisi isotoope tunnustab ta maaral, mil need sobivad tema analuusi sidususega, pidades neid teksti suntaktilisi ja diskursiivseid struktuure silmas pidades korvalisteks. Siiski saab peamiseks uks kontekstuaalne isotoopia, mis pohineb intertekstuaalsetel sidemetel Piibli vordumiga. Artikli autor jouab jareldusele, et immanentsuse printsiip “Maupassant’is” ei ole eitus, vaid problematiseering, mis toestab, kuidas on voimalik olulist kontekstuaalset materjali semiootilisse analuusi loimida. (shrink)

Similar words and utterances in the Qurʾān are the subject of the technical term lafẓī mutashābih. The rephrasing of meanings (maʿnā) and use of different words (lafẓ) in the Qurʾān are dealt with under the rubric of the theme “Qurʾānic style.” The stylistic variations in the Qurʾān are expressed as takrār al-Qurʾān, tasrīf (Affix and Paraphrase), ʿudūl (inversion), and tafannun (stylistic variation). However, when compared with other terms of exegesis, “tafannun” remained in the background and its conceptualization was thwarted. This (...) could be attributed not only to other concepts brought to the fore but also to the fact that tafannun underwent semantic restriction and was confined to iftinān within the framework of badīʿ. This study aims to clarify the true meaning of tafannun which reflects stylistic variations in the Qurʾān and revealing the contribution of this term to the more appropriate interpretation of the Qurʾān, assessing its significance for the field of tafsīr. The first chapter of this study deals with the etymology of tafannun, its historical background and conceptualization as well as the relationship between iʿjāz (inimitability) and tafannun in the history of tafsīr, while the second one identifies and illustrates the kinds of tafannun to expound on the true nature of this concept.Summary: Similar words and utterances in the Qurʾān are the subject of the technical term lafẓī mutashābih. The change and variety of the rephrasing of meanings (maʿnā) and words (lafẓ) in the Qurʾān are dealt with under the rubric of the theme “Qurʾānic style.” The stylistic differences and variations in the Qurʾān are expressed in the literature with terms such as takrār al-Qurʾān, tasrīf (affix and paraphrase), ʿudūl (inversion), tafannun (stylistic variation). However, in the terminology of exegesis, the term “tafannun” remained in the background, and its conceptualization was thwarted. This could be attributed not only to other concepts brought to the fore but also to the fact that the word tafannun underwent semantic restriction and therefore was confined to iftinān within the framework of badīʿ. Yet in earlier times it was widely used in the exegesis literature as part of Arabic language to identify the stylistic variations in the Qurʾān. Starting with 8th century AH, there have been numerous references to the term tafannun. From 9th century AH to present, many Muslim exegetes, especially Ibn Āshūr (1879-1973) used tafannun as one of the fundamental concepts to understand and explain the proper meaning of the Qurʾān. This study aims to clarify the true meaning of tafannun which reflects stylistic variations in the Qurʾān and revealing the contribution of it to the proper interpretation of the Qurʾān, assessing its significance for tafsīr. The first chapter of this study deals with the etymology of tafannun, its historical background and conceptualization as well as the relationship between iʿjāz (inimitability) and tafannun in the history of tafsīr, while the second one identifies and illustrates the kinds of tafannun to expound on the true nature of this concept.According to the result of this research, iftinān means following various styles and genres (types), while tafannun denotes variations in styles and genres (types). In vernacular, these two terms are considered the same. The term iftinān was dealt with in some works under the subject of muhassināt al-maʿnaviyya within the framework of badīʿ. In the Arabic literature, when the definition of the term iftinān was given, the term tafannun was not defined under any section of any book or any other place in the rhetoric of science. Tafannun is used to express the way any action is carried out, as it is mentioned in the definition of iftinān.The word tafannun was used to demonstrate the expertise, depth and mastery of Islamic scholars in one or various fields of Islamic studies in the early works of Islamic literature. In later times, the term iftinān was used to show rhetorical and oracy skills of a person. Abū Hilāl al-ʿAskarī (d. 400/1009) define tafannun as “the variation in words while two paragraphs bear the same meaning.” His definition proved to be a turning point in the conceptualization process of the word tafannun. Al-Zamakhsharī (d. 538/1144) was the first Islamic scholar to refer to the word tafannun in the interpretation of the Qurʾān. He used the words iftinān and tafannun in the same sense in his works. He mostly regarded examples of iltifāt as iftinān. Abū Bakr al-Rāzī (d. 666/1268), establishing a connection between tafannun and repetition, stated that the term tafannun was used to avoid boredom of repetitive diction.Among other authors who used the term tafannun in their works, Bayḍāwī, (d. 685/1286), Nīsābūrī (d. 730/1329), Ibn Cemāʿa (d. 733/1333), Abū Ḥayyān (d. 745/1344), Samīn al-Ḥalabī (d. 756/1355), Zarkashī (d. 794/1392), Suyūṭī, (d. 911/1505), Ḥaṭīb al-Shirbīnī (d. 977/1570), Shihāb al-Dīn al-Khafājī (d. 1069/1659), Ālūsī, (d. 1270/1854), Muḥammad ʿAbduh (1849-1905)-Rashīd Riḍā (1865-1935) and Ibn Āshūr are the notable ones. Rather than merely defining the term tafannun, the majority of these commentators emphasized the function, benefit and aim of this word. Thanks to the use of this word by these commentators, a distinction was made between tafannun called iftinān as a literary device in the science of badīʿ and tafannun gaining a new meaning used to express stylistic variations. As a result, two words with the same dictionary definition were distinguished from each other during the conceptualization process. Among the authors using the word tafannun, Ibn Āshūr clearly defined the term and contributed significantly to its conceptualization. He defines the word tafannun as the uniqueness of the Qurʾān in employing stylistic variations by offering synonymous words in case of iʾtirāz (discursive), tanzīr, (resemblance), tazyīl (appendix) and takrār (repetition), creating the most comprehensive definition until that time.Tafannun is also defined as expression of the same meaning through re-signifying, stylistic variation in two verses, difference in the repetition of parables, variations in choice of diction and synonymous words, and avoidance of repetition. As a result of its definition, the word tafannun also denotes providing stylistic variations, using vivid language, avoiding prosaic diction, using denotative and connotative language, helping readers to grasp shades of meaning and read between the lines in the most clear and economic way.In the related literature, there are a lot of references to the word tafannun when demonstrating iʿjāz of the Qurʾān. When looked at the historical development of the relationship between iʿjāz and tafannun, it is observed that tafannun was accepted to be an element of iʿjāz. Defined as providing stylistic variation, tafannun is employed in various ways. The literary devices used to carry out tafannun are through ʿudūl, iltifāt, taqdīm and taʾhīr, change of utterances, use of synonymous words, objection, resemblance, and addition. In the proper interpretation of the Qurʾān, tafannun has a comprehensive usage, making many more academic studies a necessity with a view to making a significant contribution to a deeper and better grasp of words and shades of meanings employed in the Qurʾān. (shrink)

In her 1927 diary, Simone de Beauvoir documents her intent to mix literary style with philosophical content. However, in Anglophone research environments, her works are formally classified as either literature or philosophy. This article questions the legitimacy of this classification by arguing that The Ethics of Ambiguity’s stylistic use of first-person plural narration, metaphor, conversational style, and parable help us understand ambiguity and freedom as necessarily embodied by invoking experiences of both phenomena.

I approach Murasaki Shikibu’s marvelous literary pearl The Tale of Genji (Genji Monogatari) as analogous to glistening orbs that “come out of the disease of suffering oysters,” the suffering being the death of her beloved husband Fujiwara no Nobutaka (950?–1001). In addition to drawing evidence from the novel itself, I have relied on Murasaki’s lesser-known Poetic Memoirs and Diary that offer important insights into her state of mind and circumspect literary style. The Lotus Sūtra is the key that (...) unlocks Murasaki’s philosophical intent, with its use of parables and poems to provoke deeper understandings of Buddhism and personal realizations. The Buddhist principle of impermanence (Sanskrit anitya; Japanese mujōkan) serves as both the aesthetic of aware and an unavoidable fact that residents of the Heian court (like those in the Lotus Sūtra’s Burning House) choose to ignore or escape by reveling in superficial pursuits of beauty and political power. Various characters in the novel attempt to follow the path to the epistemological awakening the author Murasaki sought for herself. (shrink)

The common understanding of Chuang-Tzu as one of the earliest deconstructionists is only half true. This article sets out to challenge conventional characterizations of Chuang-Tzu by adding the important caveat that not only is he a philosophical deconstructionist but that his writings also reveal a non-relativistic, transcendental basis to understanding. The road to such understanding, as argued by this author, can be found in Chuang-Tzu’s emphasis on the illusory or dream-like nature of the self and, by extension, the subject-object dichotomy (...) inherent in all forms of conceptualization and descriptive language. These two obstacles to true understanding - the self and literal, linguistic expressions - are overcome in the Chuang-Tzu by implementing metaphorical and poetic language, such as the Kun-Peng myth, the swamp pheasant parable, the introduction of physically deformed interlocutors, various dream analogies, and so forth. By employing such literary devices in a comprehensible and non-mystical manner, this article concludes that Chuang-Tzu successfully communicates his essential wisdom by guiding the reader to a higher state of spiritual awareness, a state in which one transcends the self, language, conceptual paradoxes, and even the idea of transcendence itself. Consequently, through the following explication of Chuang-Tzu’s complementary emphasis on both preventing mental rigidity and promoting spiritual transcendence, this article seeks to earn Chuang-Tzu the reputation of a deconstructionist with a difference. (shrink)

Book reviewed in this article: In Search of History: Historiography in the Ancient World and the Origins of Biblical History. By John Van Seters. The Hidden God: The Hiding of the Face of God in the Old Testament. By Samuel E. Balentine. Theodicy in the Old Testament. Edited by James L. Crenshaw. Ce Dieu censé aimer la Souffrance. By François Varone. Evil and Evolution, A Theodicy. By Richard W. Kropf. ‘Poet and Peasant’ and ‘Through Peasant Eyes’: A Literary‐Cultural Approach (...) to the Parable in Luke. By Kenneth Bailey. The Biblical Foundations for Mission. By Donald Senior and Carroll Stuhlmueller. New Testament Foundations of Ministry. By Colin Kruse. Church, Ministry and Unity. By James E. Griffiss. Theology of Ministry. By Thomas Franklin O'Meara. Yesterday and Today: A Study of Continuities in Christology. By Colin E. Gunton. I believe in the Holy Spirit. By Yves Congar. Between Jesus and Paul. By Martin Hengel. From Nicaea to Chalcedon: A Guide to the Literature and its Background. By Frances Young. Alan of Lille: The Frontiers of Theology in the Later Twelfth Century. By G.R. Evans. Mystic and Pilgrim: The Book and the World of Margery Kempe. By Clarissa W. Atkinson. Church, Politics and Society: Scotland 1408–1929. Edited by N. Macdougall. Renaissance and Reform: The Italian Contribution. Collected Essays, Volume II. By Frances A. Yates. Seven‐Headed Luther: Essays in Commemoration of a Quincentury, 1483–1983. Edited by Peter Newman Brooks. Ökumenische Erschliessung Martin Luthers. Edited by Peter Manns and Harding Meyer. Luther's Ecumenical Significance, An Interconfessional Consultation. Edited by Peter Manns and Harding Meyer, in collaboration with Carter Lindberg and Harry McSorley. States of Mind: A Study of Anglo‐Irish Conflict 1780 to 1980. By Oliver MacDonagh. The Parish Clergy in Nineteenth‐Century Russia: Crisis, Reform, Counter Reform. By Gregory L. Freeze. Pusey Rediscovered. Edited by Perry Butler. Between Two Worlds: George Tyrrell's Relationship to the Thought of Matthew Arnold. By Nicholas Sagovsky. The Concept of Glaubenslehre. By Walter E. Wyman, Jr. The Existence and Nature of God. Edited by Alfred J. Freddoso. Faith and Reason. By Anthony Kenny. Logic and The Nature of God. By Stephen T. Davis. Personal Responsibility and Christian Morality. By Josef Fuchs. Morality and Conflict. By Stuart Hampshire. Realism and Imagination in Ethics. By Sabina Lovibond. Intentionality. By John R. Searle. Philosophical Papers, I: Practical Reason. By G.H. von Wright. Philosophical Papers, II: Philosophical Logic. By G.H. von Wright. A Model of Making: Literary Criticism and its Theology. By Ruth Etchells. The Return of the Goddess: Femininity, Aggression and the Modern Grail Quest. By Edward Whitmont. The Power of the Poor in History. By Gustavo Gutierrez, translated by Robert R. Barr. The God of the Xhosa. By Janet Hodgson. Our Hymn Tunes: Their Choice and Performance. By Donald Webster. The Almighty Wall: The Architecture of Henry Vaughan. By William Morgan. An Introduction to Plato's Laws. By R.E. Stalley. Plato's Late Ontology: A Riddle Resolved. By Kenneth M. Sayre. Plato's ‘Parmenides’: Translation and Analysis. By R.E. Allen. Politics in the Ancient World. By M.I. Finley. (shrink)

There are many moral values that the Arab writers have written about either in prose or poetry. This emphasis on morality in classical Arabic literature has also been the subject of many academic studies. The abundance of the literary material in this field has attracted the attention of researchers. One of these is the emphasis on "naturalness" which we have seen in classical Arabic literature. In the Arab society which social ties are very strong the moral values have been (...) summarized with the concept of al-murūah/chivalry over time. In these sources that is including poems, parables and anecdotes about morality allthings on the moral values are brought together. Hereunder the main thing in the moral maturity is the naturality. Criticism of ostensible behaviors has taken place in an important part of these works. For example, ancient perception of morality is a predestination that comes from creation has found its response in Arabic poetry. Many Arab poets have stated that one's innate character will beat and the reason will be defeated. On the other hand, some poets tried to establish a balance between character and wisdom. Accordingly, it has been stated that people are innately inclined to falses but they also have the potential to restrain their innate evil tendencies with the ability of mind given to them. These poets liked to explain this balance through the simile stating he ambitious horse that wants to run at full speed is restrained with a bit. According to this simile the man is like a person on the back of a raging horse with the evil inclinations cultivated in his nature. The soul he carries wants to take him wherever it wishes. However, he has a mind that is like a bridle in return for the soul inside him. On the other hand, when we look at the encyclopedic sources of Arabic proverbs we see that there are proverbs comparing many moral attributes with animals. In Turkish proverbs, cunning is identified with the fox and industriousness with the ant, and in Arabic proverbs a very rich human character-animal pairings stand out. These proverbs are based on the idea that people's character is the product of nature. Because each animal species has appreciated characteristics and these features occur without learning and education. In addition, the issue of the naturalness of morality was also used for the purpose of praise and satire in the classical Arabic poets. The poet makes his reproach or anger towards someone through his character. When describing his lover he states that the beauties that adorn him come from creation. Therefore, it can be said that the emphasises of character/nature/temperament in the poems in which these and similar emotions are aroused, are the motifs that serve the purpose of the poet. Finally Arab writers have offered many recommendations in literary form on issues such as brotherhood, solidarity and cooperation for the healthy continuity of social relations in the Muslim society, and they have included anecdotes and poems within the framework of the subject. The study is mainly based on the descriptive method, however, the way the authors handled the subject is analysed when it is deemed to be appropriate. Considering that there is no specific study in Turkish and Arabic literature within the framework of the present study, it is aimed to investigate the literary material in the subject in question. (shrink)

In this study, Muarrij al-Sadusi (d. 204/820 or later) and his Kitāb al-amthāl which he wrote in the field of proverbs, are focused on. In this context, first of all, Muarrij’s life, scientific and literary personality are mentioned, his teachers and students are pointed out, and information about his works is given. Then, Kitāb al-amthāl was discussed; It was examined in terms of its content, classification and commentary method, and its contribution to the proverb literature. After spending part of (...) his life in the desert and learning Arabic from Bedouin Arabs, Muarrij came to Basra and educated himself by taking lessons from various teachers in fields such as hadith, lineage and history, especially linguistics. Also, in addition to Kitāb al-amthāl, he wrote works such as Kitābu Hazf min nesebi Quraysh, Kitāb al’-Anvâ’, Ansâbu Şaybân, Cemâhîru'l-kabâ'il, Garîbü'l-Qur'ân, Kitābu al-Maʿânî and Maʿânî al-Qurʾân also sheds light on his competence in many fields. Although Muarrij is a scholar who has written works in various fields, he has come to the fore mostly in linguistic sciences. In this context, qualities such as being the greatest of linguists, a scholar in Arabic, and the leader of grammarians have been attributed to him. It was also said that he was a star among Halil ibn Ahmed’s students who knew vocabulary and poetry well. Unfortunately, only two couplets of Muarrij, who is said to have been a poet and the author of many poems in addition to his knowledge of poetry, have survived to the present day. It has been stated that these two couplets are the best poems ever written on the subject on which they were written. Muarrij’s Kitāb al-amthāl is the second book written in the field of proverbs that has survived to the present day. In addition to proverbs, this book contains Arabic words, unfamiliar words, itbaʿ type words, poems, hadiths and a verse from the Quran. Although the author usually explained the unfamiliar words, he included in his work by bringing witnesses from the poem, he rarely mentioned the parable in which it was included. While it is seen that he used the hadiths and itbaʿs in his book as proverbs, he brought the verse of the Quran as a witness to the meaning of a word. The author mentioned many poems in his work, used poems as a source of istishhad for the explanation of unfamiliar words while explaining proverbs or to show that the proverbs he mentioned in his work were mentioned in poems. Apart from these, it is also seen that he included poems without any purpose and did not provide an explanation for them. For a long time, in the writing of proverbs books, the historical method, which corresponds to including events and stories related to the proverbs, or the lexical method, which envisages commenting on the strange words in the text, touching on the nuances between word groups, including grammatical analysis and making istishhad for them, have been followed. Kitāb al-amthāl, which was written by using the lexical method of these two methods, is accepted as the first work that has survived to the present day written with the lexical method in proverb literature. It can be said that Muarrij’s identity as a grammarian and lexicographer was effective in writing the work with this method. Due to these features, Kitāb al-amthāl is a book that has played a pioneering role in the formation of some understandings and traditions in proverb literature. As a matter of fact, it is the first book of proverbs in which a proverb was classified according to the time and geography in which it appeared, the hadiths that became proverbs were included for the first time, the tradition of accepting itbâʿs as proverbs was started. Kitāb al-amthāl is a work that is accepted in the proverb literature and continues the understandings it puts forward. This is demonstrated by the fact that scholars such as Abu Ubayd al-Qasım, Al-Mufaddal ibn Salama, Abu Bakr ibn Anbari, Abu Hilal al-Askari and Maidani, who wrote books on the subject, quoted and benefited from this book in their works. In addition, when the quotations and transfers made by the mentioned scholars from Kitāb al-amthāl are compared with the current version of the work, it is concluded that some of the transfers are not present in the work we have or are incomplete. This situation reveals that Kitāb al-amthāl was more voluminous and comprehensive and has not survived to the present day in its original form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Divine and Artistic Ideal:Ideas and Insights for Cross-Cultural Aesthetic EducationMing Dong Gu (bio)IntroductionPeople in different cultural traditions would praise an excellent work of art as a masterpiece that has attained the status of the divine. This is a practice inherited from the ancient past. In high antiquity, when people did not have sufficient knowledge of artistic creation, they attributed creative inspirations and superb art to gods. In ancient (...) Greece people believed that all the arts were created by the Muses, daughters of the supreme god Zeus.1 Accordingly, they viewed divine creation as the highest order of representation and used the divine as the yardstick to measure artistic excellence. In early Greek thought Plato, through the mouth of Socrates, praised Homer as "the best and most divine of all."2 Citing the exquisite lyric poetry by Tynnnichs of Chalcis as evidence, he declared, "the god would show us, lest we doubt, that these lovely poems are not of man or human workmanship, but are divine and from the gods, and that the poets are nothing but interpreters of the gods, each one possessed by the divinity to whom he is in bondage."3In the Chinese tradition similar ideas existed from high antiquity. In early Chinese thought there is a parable in Zhuangzi's (369–286 BC) philosophical writing. It narrates how a skillful carpenter was commissioned by a king to make an ornate music stand. When the stand was finished, people, struck by the life likeness of the carved birds and animals on the stand, believed that he was able to make such superb art work because he was endowed with the divine power of gods.4 In literary criticism Yan Yu (fl. 1180-1235), a literary theorist whose views have exerted a lasting impact on Chinese poetry and poetics, proclaimed the divine to be the ultimate standard for [End Page 88] the poetic art: "There is only one ultimate achievement in poetry: it is called 'entering the divine.' When poetry enters the domain of the divine, it has reached its perfection and limit. Nothing can be added to it!"5 In other traditions, if people want to pass the highest praise for an excellent work of art, a simple exclamation, "That is divine!" would be sufficient.Thus, across cultures art has been related to the divine. Without reference to it, aesthetic conceptions of art and artistic creation would not be what they are today. This is because in many traditions the divine used to be viewed as the ultimate aesthetic ideal, and aesthetics is full of notions, ideas, and concepts related to it, without which artistic criticism and aesthetic education would be in a much impoverished state. The divine in art, however, is a slippery category in aesthetics that has been intuitively explored since high antiquity. In this article I will examine some critical and theoretical data on the divine, divine creation, and divine spirit in artistic representation from the Chinese and Western traditions and explore how the Chinese and Western traditions employ ideas of the divine for artistic conceptions and aesthetic education. On the basis of comparison and contrast, I will try to obtain some rational insights into the relationship between artistic creation and the divine in terms of logical analysis. Finally, I will make some efforts to reconceptualize the insights drawn from both traditions and explore to what extent the divine is still relevant to present-day aesthetics, how an aesthetic ideal may be conceived according to ideas of the divine in artistic representation, and in what ways an artwork may be considered to have entered the divine realm of the artistic ideal.God, Nature, and the Artistic IdealDespite vast differences in aesthetic conceptions, we can observe a discernable movement in the Chinese and Western notions of the divine in art from theistic and intuitive characterization to rational and logical conceptualization. This movement is characterized by a shift in emphasis from a personal god to impersonal nature, and from divine creator to human creator. Chinese and Western traditions started with a similar concern: What is the aesthetic ideal in artistic representation? Both traditions believe that the artistic ideal is... (shrink)

Combining phenomenology and psychoanalysis in highly innovative ways, this book seeks to undo the binary opposition between appearance and Being that has been in place since Plato’s parable of the cave. It is, essentially, an essay on what could be called “world love,” the possibility and necessity for psychic survival of a profound and vital erotic investment by a human being in the cosmic surround. Here, the author takes her cue from Freud’s assertion that the “loss of reality” associated with (...) psychosis is a function of a disturbance not in the capacity to reason or perceive, but rather in the capacity for world love, the libidinal and semiotic circuity by means of which such love actualizes itself. In an implicit challenge to poststructuralist thought, the author claims that this love is always in response to a call issued by the world—that the world has, as it were, a vocation: its beauty ought to be seen. We must think of our own being-in-the world as a response to a primordial calling out to respond to this beauty. We are, the author suggests, at the very core of our being, summoned to what she terms world spectatorship. Drawing on Heidegger’s phenomenological elaboration of care as the being distinctive of human being and the primarily Lacanian conceptualization of the language of desire specific to each human subject, this metapsychology of love attempts to integrate issues in the fields of psychoanalysis, philosophy, visual culture, art history, and literary and film studies. (shrink)

The drama “Ressurection of the dead people”, written by the famous Orthodox hierarch saint Georgiy (Konys’kyj), presents the well-known monument of the old Ukrainian didactic literature. Even nowadays its impressive religious and ethical basis demands attention, popularization and further exploration.The aim of the article is pointing out the central moral and theological ideas of this work and making analysis of them.Georgiy (Konys’kyj’s) drama is connected with the biblical texts (with the evangelic parables of the Wheat and the Tares, of (...) the Sower and of the Rich Man and Lazarus, in particular). This connection is regular and strong enough. At the same time, the author uses some corresponding ethical senses, elements of subject line and images more or less creatively. As a result, his literary work can be interpreted as a perceptibly original one.As well as the Holy Writ and the Sacred Tradition of Church, the drama “Resurrection of the dead people” underlines the value of the different Christian virtues. Among them we find the diligence, the mercy, the making of peace, the gratefulness, the relying upon God’s Providence, the patience, the humility, the understanding of the eternal values priority, etc. Being a preacher of virtues, Ukrainian dramatist preaches down the numerous vices and sins. According to his ethical position, our struggle against the evil should be as righteous and legal as it possible.In spite of some loss of conformity to the moral theology in one episode, on the whole the drama by Georgiy (Konys’kyj) must be regarded as a successful artistic embodiment of the important ideas of the Christian ethics. (shrink)

_ Source: _Volume 38, Issue 1, pp 5 - 24 Fully aware of an antipathy to comparisons that looks back not only to ancient philosophy and law but to the early modern schoolroom, Erasmus nevertheless puts his full prestige behind the strategy so foundational to the rhetorical theory of Plato, Cicero, Quintilian and Aphthonius. This essay examines the key role of comparison in the form of _similitudo_, _parabola_ or _collatio_, and _imago_ in Erasmus’ educational reform as represented by his _De (...) copia_, _De ratione studii_, and _De conscribendis epistolis_, as well as in his own literary production, especially his _Adages_. (shrink)

What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the fictional narrative, the greater (...) the potential for argumentative evil. Here, the notion of length is to be understood such that it is generally a proxy for more abstract features such as how complex and nuanced the piece is. In other argumentative contexts, length generally appears to make no comparable difference. This feature would put fictional narrative arguments in a special class beyond what is determined by obvious features, such as the definitional fact that they in some way(s) collapse two of the four traditional types of discourse: exposition, description, narration, and argument. The nonobvious features that distinguish this class have been a source of puzzlement and inquiry. (shrink)

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I propose (...) to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (shrink)