We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This paper argues (...) how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)

The Viennese obsession with sex at the fin-de-siècle was vividly expressed in the artworks of Gustav Klimt and Egon Schiele. Their depictions of women demonstrated their fascination with and fear of female sexual pleasure and desire, reflecting a wider societal anxiety and erotic fixation. This paper will analyse selected paintings and drawings by both Klimt and Schiele to explore this dynamic of 'erotic neurasthenia.'.

Caleb Ward interviews Black feminist writer, poet, educator, organizer, and scholar Alexis Pauline Gumbs about Audre Lorde’s spirituality, her ecological political praxis, her pedagogy, and the cross-generational scale of social change.

Argues that, in advanced industrial societies, pluralistic religions and social systems and structures and multi-dimensional selces must replace the unworkable, outmoded order of monotheism, the sovereign statesm and the unitary self.

Purpose. Without claiming to explain the meaning and purpose of the Cycladic figurines of the canonical type in the context of the culture that created them, the author attempts to investigate the phenomenon of these ancient images and their impact on contemporary humans through the lens of Carl Gustav Jung’s theory of the collective unconscious and the archetypes. Theoretical basis. The primary meanings and purposes of the Cycladic figurines are ambiguous and incomprehensible to us. We cannot understand them in the (...) context of their original culture. But we are able to create our own meanings: unfinished images generate an opportunity to bypass our conscious mind and to contact the unconscious. The Cycladic figurines may resonate with female archetypes in the male and female psyche, as well as symbolize the ontological primacy of creative unity of opposites, the integrity of consciousness and the unconscious. Originality. The author outlined the possible unconscious meanings generated by the Cycladic figurines for human psyche. The Cycladic figurines actualize the archetypes of the collective unconscious, such as the Great Mother, the Anima, and the Self. These ancient images can be used for introspection, art therapy, active imagination, meditation, mindfulness. Conclusions. The results show that the Cycladic figurines have had a huge impact on the artists of the 20 th century and continue to influence our contemporaries due to the emotional response they evoke in the unconscious, which conceals the primordial features of the ancient mind. Laconic ancient images provide a vast space of options for human imagination. In an attempt to interpret them, we are suddenly seized and carried away into unknown depths. Archetypal images are manifested in any form – from sublime and beautiful to terrible, but they create a single space full of numinous awe and beauty. Engaging with the archetypes and revealing their hidden messages, we establish a connection between consciousness and the unconscious, between the personal and collective unconscious to achieve a deep self-awareness and inner growth. (shrink)

The TV series American Gods (2017-2021) features a war between the Old Gods, a syncretic pantheon of deities of the natural powers drawn from all mythological and religious traditions, and the New Gods, the deities of history and the artificial realm of man-made technics. Gods of both fences are shown as beings whose morals beyond good and evil is entirely focused on fulfilling their will to power in terms of immortality. Humans are trapped within this conflict; their only option is (...) seemingly limited to choose which side they stand. While the series sumptuously renders Heidegger’s claim that metaphysics and technics are the same, it also employs a different and positive meaning of the latter: by showing the old gods, the new ones, and humans as different options about existence – namely the logic of sacrifice, the logic of hedonism, and the economic logic of human reason – and eventually rejecting all of them as viable solutions, it favours an idea of existence as full open-ness and experimentality. In the end, technics is one with man’s self-creativity, embodied in his very biology, providing him an escape route from the vicious circles constantly ambushing him on his path towards authenticity – namely, all deities, religious as well as secular. (shrink)

Lévinas’s harsh criticisms of the sacred have irked not just his critics but even some who sympathize with his work. Taken at face value, some of Lévinas’s comments concerning the sacred appear prejudicial towards non-monotheistic religions. But a closer reading of his analysis of the sacred shows that his preoccupation with the sacred has to do with a questionable “temptation” or disposition found in every human being. Drawing on the insights of the Bible, Shakespeare, and Lévy-Bruhl, (...) Lévinas shows how this temptation involves a primitive wish to escape one’s responsibilities as a human being. For Lévinas, the phenomenon of the sacred promotes the illusion of a direct and immediate experience of the absolute or the Infinite. Genuine transcendence, for Lévinas, is possible only within the ethical drama of self and Other. The apex of human life involves not the eclipsing of the self—the fundamental motivation behind the sacred—but a heightening of the self’s radical uniqueness that only moral engagement makes possible. (shrink)

RESUMO A interpretação poética do simbolismo dos lugares sagrados é um tema significativo no estudo da herança cultural do Cazaquistão, incluindo a sua literatura. Esta pesquisa tem como objetivo analisar as técnicas literárias e as táticas linguísticas através das quais os escritores cazaques recriam e ilustram o simbolismo e o significado dos locais sagrados. O principal método utilizado é o analítico, especificamente a análise semiótica, a análise formal e a análise histórico-cultural. Outros métodos empregados incluem comparativos, métodos de generalização e (...) sistematização. O estudo concluiu que os locais sagrados desempenham um papel fundamental na identificação nacional do Cazaquistão. A sua interpretação poética mostra um complexo entrelaçamento de memória histórica, tradições culturais e valores espirituais do povo cazaque. A análise das obras literárias revelou que os escritores empregam ativamente várias técnicas estilísticas e rítmicas para transmitir o significado único destes lugares. Metáforas, alegorias, símbolos, repetições e outras ferramentas linguísticas são mais comumente usadas para criar uma imagem em várias camadas de um local sagrado. (shrink)

This paper aims to demonstrate the relation between eroticism, perceptually expanded experience (dilated, brought forth by the intelligence of the body), and the notion of interconnectivity and global consciousness. I discern two tendencies: the self's positional relation via technology proposed by philosophers like Descartes; and the self's non-positional relation via technology that seems to be proposed by some philosophers such as Fritjof Capra. I draw my sources from the second category: my work is enriched by an anthropological approach where I (...) expand my experience by integrating several typical dances from different countries, as well as traditional spiritual dances from a Western point of view. My process refers to oriental philosophy - it presents the exterior world and the interior world as two aspects of the same fabric, and questions the very notion of surface and bodily borders in which every thread of every energy and phenomenon, of every form of consciousness and its objects are woven into one continuous tapestry of infinite and mutually conditioned relations. This brings forth a redefinition of the notion of limit, time and reality. The bodily experience, enriched by training from several different cultures transports us to an experience of interiority which leads to states of expanded consciousness. (shrink)

Resumen Desde una visión de fe, la comunión supone la posibilidad de que la existencia criatural participe, por la gracia, de la comunión divina trinitaria. El presente artículo, ubicado en el ámbito de la teología bíblica, busca aportar a la reflexión teológica sistemática a través del rastreo sobre el modo como “la realidad comunional” ha sido percibida, comprendida y expresada por parte del hombre bíblico por medio del recurso a imágenes tomadas de su experiencia histórica y cotidiana. Tales imágenes son, (...) principalmente, la unidad orgánica del cuerpo, la unión esponsal y la mesa compartida.From a faith perspective, communion supposes the possibility that the existence of the creature could be part, through the grace, of Trinitarian divine communion. This article, located in the field of the biblical theology, seeks to contribute to the systematic theological reflection by probing about the way as the “reality of communion” has been perceived, understood, and expressed by the biblical man using images taken from historical and everyday experience. Such images are, mainly, the organic unity of the body, the spousal union, and the shared table. (shrink)

Materialist and fundamentalist reductive ideologies obscure our capacity to directly experience the numinous. Thus, importantly, given the weight of the observable and measurable in orthodox science, and oftentimes a dismissal of both the soul and the subjective, a viable means of reconciling science and religious experience has continued to elude us. As a counter-measure to this obscuration, Jungian-oriented depth psychology has developed as an empirical science of the unconscious, researching both subject and object and offering theories and practices that foster (...) the psychospiritual development of the personality. Despite cultural and epochal differences, comparable evidence to Jung's process of psychospiritual development can be found in the Eastern liberatory tradition of Patañjali's Classical Yoga. However, given the elevated presence of neuroscience, no psychology, and especially no psychology that supports the soul, seems likely to survive much longer without finding an alliance with the objective measures of brain science. When considering the radically empirical measures of Jung and Patañjali, affective neuroscience may offer us a contemporary and objective means of languaging the bridge between the transcendent and immanent and fostering a contemporary science of the sacred. (shrink)

In the contemporary world, the safeguarding and transmission of cultural heritage have garnered increasing attention, emphasizing the need for comprehensive strategies to preserve such legacies. American vocal music, with its rich spiritual and cultural connotations, represents a critical element of this heritage. This paper explores the unique characteristics and historical significance of American singing styles, particularly focusing on how these forms embody broader philosophical and spiritual narratives. Employing digital technologies, this study not only seeks to preserve the authentic essence of (...) these musical expressions but also to enhance their accessibility and educational value. The implementation of digital tools has facilitated an extensive reach, with coverage of American vocal music’s historical context achieving a 95% rate. Updates are frequent, occurring approximately 85 times, ensuring the material remains relevant and engaging. The application of digital strategies has significantly impacted educational outcomes, with student feedback scoring between 9.2 and 9.5 on a scale of 10, and a 95% acceptance rate of digital content on American vocal music. These findings underscore the effectiveness of digital media in promoting and preserving musical heritage, thereby increasing awareness and appreciation among newer generations. More importantly, this approach allows for a deeper engagement with the philosophical and spiritual dimensions of American singing, ensuring that the transmission of this cultural form remains not only intact but vibrant and meaningful. Through the digital preservation and educational dissemination of American vocal music, this study contributes to the ongoing development of music education and the broader understanding of its cultural and spiritual impact. (shrink)

Introduction -- Creative experience as the birthplace of the transcendent -- On refinding God during chemotherapy -- Reflections on moments of grace -- On the quiet virtue of humility -- Summoned to courage -- Maintaining personal dignity in the face of the mass society -- On fidelity and betrayal in love relationships -- The kiss.

Esta es una reseña del texto de literatura de viajes, Escape a Kuna Yala, de Carolina Jiménez Acuña, publicado por la Editorial Universidad Estatal a Distancia (EUNED), en San José de Costa Rica en el año 2016. La autora Jiménez es historiadora del arte, artista plástica y escritora. Parte fundamental de su trabajo ha sido la asesoría a proyectos artísticos de los pueblos indígenas Naso-Tjërdi, Bribri y Cabécar. El libro consta de 126 páginas y cuenta con el ISBN 978-9968-48-314-8.

Western practices and theories of the sacred have been ritually performed and culturally elaborated mostly by male theorists who ignored the historical exclusion of women from sacral arenas. Shaped by male morphologies, their practices and descriptions quickly became prescriptions for theological rectitude and/or healthy social functioning. Women's exclusion appears to have been essential rather than epiphenomenal to the political and ecclesiastical structures established. Through the lens of Sigmund Freud, in this article I will attempt to analyse why the question (...) as to how the Western sacred has been achieved, defined, and elaborated is inherently antithetical to the future of the earth and of women. I will argue that Freud's focus on repression rather than nurture enables the Western sacred to forge gender dichotomies and legitimize those forms of religious and political mentalities that now carry lethal capacities. For that reason, we need to de-construct its most dangerous capacities, challenge the toxic stories, develop spiritual and disciplinary practices that nurture human creativity, foster independent thinking, and radically address the acute gendered imbalance that currently pervades the religious and political social imaginary. I argue that a feminist call for mere equality within existing theological or political frameworks fails to do justice to the issues at stake. I will then point briefly to some alternative approaches to the sacred mentioned above in the work of philosopher and psychoanalyst, Luce Irigaray; anthropologist, Peggy Reeves Sanday; Jungian analyst, Marion Woodman, and artist, psychoanalyst and theorist, Bracha Lichtenberg Ettinger. (shrink)

This volume offers a critical analysis of one the most ambitious editorial projects of late Victorian Britain: the edition of the fifty substantial volumes of the Sacred Books of the East. The series was edited and conceptualized by Friedrich Max Müller, a world-famous German-born philologist, orientalist, and religious scholar. Müller and his influential Oxford colleagues secured financial support from the India Office of the British Empire and from Oxford University Press. Arie L. Molendijk documents how the series has become (...) a landmark in the development of the humanities-especially the study of religion and language-in the second half of the nineteenth century. The edition also contributed significantly to the Western perception of the 'religious' or even 'mystic' East, which was textually represented in English translations. The series was a token of the rise of 'big science' and textualized the East, by selecting their 'sacred books' and bringing them under the power of western scholarship. (shrink)

How important is the influence of spatial acoustics on our mental processes related to sound perception and cognition? There is a large body of research in fields encompassing architecture, musicology, and psychology that analyzes human response, both subjective and objective, to different soundscapes. But what if we want to understand how acoustic environments influenced the human experience of sound in sacred ritual practices in premodern societies? Archaeoacoustics is the research field that investigates sound in the past. One of its (...) branches delves into how sound was used in specific landscapes and at sites with rock art, and why past societies endowed a special significance to places with specific acoustical properties. Taking advantage of the advances made in sound recording and reproduction technologies, researchers are now exploring how ancient social and sacred ceremonies and practices related to the acoustic properties of their sound environment. Here, we advocate for the emergence of a new and innovative discipline, experimental psychoarchaeoacoustics. We also review underlying methodological approaches and discuss the limitations, challenges, and future directions for this new field. (shrink)

In Death-Devoted Heart Roger Scruton argues that Tristan und Isolde has profound religious meaning. Blending philosophy, criticism and musicology, he shows the work is as relevant today as it was to Wagner's contemporaries. Scruton's analysis touches on the nature of tragedy, the significance of ritual sacrifice, and the meaning of redemption.

abstract: This project began as an interreligious exercise during Lent, a Christian season of increased spiritual practice. What resulted, in part, is this work, a translation and commentary on the Dhammapada (included here: the introduction and translations of three chapters with chapter commentaries). Like the Sermon on the Mount to Christians and the Bhagavad Gita to Hindus, the Dhammapada is considered the heart of Buddhist teaching. Ultimately, this work is a secondary translation or popular interpretation, akin to Thomas Merton's translations (...) of Chuang Tzu and Coleman Bark's translations of Rumi's poetry. And rather than a scholarly translation, this work is a spiritual and devotional interpretation. Among the choices I have made in this translation include gender-inclusive and affirming language, often opting for they/ them pronouns. In chapter intros, I have included resources, brief commentary, and cultural and academic notes that have helped to shape this translation. Such influencers of this translation include Ella Baker, Kendrick Lamar, Bessel van der Kolk, Lama Rod Owens, and others. The next choice I have made, instead of translating the words dukkha and samsara to sorrow/suffering and reincarnation, respectively, I have often translated these terms to harm cycles and generational suffering. My hope is that these terms capture the original meanings while also creating expansive language to hold possibilities for new understandings within Gautama Buddha's teaching. As the translator of this text, it is important to name my twenty-first-century context, influences, and identity as a person raised mostly in the Upper Midwest of the United States and who has lived in Brooklyn, New York, for the past twenty years. This translation is filtered through the lenses of my lived experience, education, social-familial position, economic status, ethnic-cultural and gender identity (as a cis male of Scandinavian-Hutterite descent, who is identified as white ), and multiple other influences. My sources include peace studies, trauma/resilience studies, liberation theology, and more than fifteen years of experience as a spiritual teacher and minister in the Anabaptist tradition (i.e., the historic peace church) of Christianity. It is through these lived experiences that this translation emerges. And, specifically, what has emerged, at least in part, is a trauma aware, liberationist interpretation of the Dhammapada. (shrink)

The individual soul is an ageless idea, attested in prehistoric times by the oral traditions of all cultures. But as far as we know, it enters history in ancient Egypt. I will begin with the individual soul in ancient Egypt, then recount the birth of the world soul in the Pythagorean community of ancient Greece, and trace it through the Western Esoteric Tradition until its demise in Kepler's writings, along with the rise of modern science, around 1600 CE. Then I (...) tell of the rebirth of the world soul recently, in new branches of mathematics. (shrink)

Book reviewed in this article:Thomas F. Green, Voices: The Educational Formation of Conscience.

In lieu of an abstract, here is a brief excerpt of the content:How Can Satan Cast Out Satan? Violence and the Birth of the Sacred in Christopher Nolan’s The Dark Knight1Nicholas Bott (bio)Last Summer, Christopher Nolan’s final installment of the Batman trilogy hit theaters. The Dark Knight Rises promised to be the epic conclusion of a hero’s journey, a journey of a man’s transformation into a legend. Little was revealed in the official trailers, except that evil was rising in (...) Gotham City, and so too must The Batman. But in this essay I’d like to suggest that we didn’t need to view The Dark Knight Rises before seeing either evil, or Batman rise; by the end of the second film, evil and Batman have already risen—and together—in the sacred form of The Dark Knight.This essay first elucidates how Bruce Wayne’s strategy to inspire good among the citizens of Gotham, first articulated in Batman Begins, encompasses the hallmarks of Girard’s mimetic theory, including: mimesis, rivalry, scandal, and, finally, the outworking of the mimetic mechanism of the surrogate victim—the scapegoat. Next, this essay takes a closer look at the goodness, or lack thereof, of Batman’s climactic self-sacrifice with its attendant resolution. Finally, this essay demonstrates that interpretations [End Page 239] of Batman’s self-sacrifice in the movie have mirrored the disparate interpretations of Christ’s self-sacrifice, in relation to the climax and resolution of the Passion accounts.Mimetic Structure in Bruce Wayne’s StrategyBeginning With the EndThe final visual the audience is given in The Dark Knight is of Batman escaping on his Batpod. The screenplay’s description of this final scene reads: “The batpod streaks through Gotham’s underground streets, the Batman’s cape fluttering behind. A wraith...”; (TDK, 140).2 Commissioner Gordon’s voice is overheard saying, “... He’s not our hero. He’s a silent guardian, a watchful protector, a dark knight” (TDK, 140). Bruce Wayne has sacrificed himself for the sake of Gotham. But what kind of sacrifice has he made?3 In the words of Alfred, “The sacrifice he’s making [is]—to not be a hero. To be something more” (TDK, 73). And Batman has become something more. No longer a hero, the language Commissioner Gordon uses to describe Batman on behalf of Gotham is mythical and sacred. Girard understands this sacralization to be the completion of the surrogate victim mechanism, the satanic process whereby the sacrifice of an innocent scapegoat reconciles a community in the midst of crisis and violent upheaval.4 This sacred vision of Batman represents the final stage of the surrogate victim mechanism, providing evidence that the satanic has been at work. But if this is the case, something has gone terribly awry in Bruce Wayne’s strategy to inspire good. With this conclusion in mind, the flaws in Wayne’s strategy as it develops throughout Batman Begins and The Dark Knight become apparent, and correspond with each step in the mimetic process.Mimesis as PlotMimesis, or imitation, stands at the heart of The Dark Knight’s plot because it stands at the heart of Bruce Wayne’s strategy to inspire good. We encounter this strategy in Nolan’s first film, Batman Begins, as Wayne explains to Alfred his reasons for returning to Gotham City:Alfred:Are you coming back to Gotham for long, sir? [End Page 240]Bruce:As long as it takes. I want to show the people their city doesn’t belong to the criminals and the corrupt.Alfred:In the depression, your father nearly bankrupted Wayne Enterprises combating poverty. He believed his example could inspire the wealthy of Gotham to save their city.Bruce:Did it?Alfred:In a way. Their murder shocked the wealthy and the powerful into action.Bruce:People need dramatic examples to shake them out of apathy. I can’t do that as Bruce Wayne. As a man... I’m flesh and blood, I can be ignored, destroyed. But as a symbol... As a symbol, I can be incorruptible. I can be everlasting.Alfred:What symbol?Bruce:Something elemental, something terrifying.(Batman Begins)5By invoking the symbolic, Bruce Wayne believes Batman will be... (shrink)

Why do some individuals willingly make extreme sacrifices for their group? Whitehouse argues that such willingness stems from a visceral feeling of oneness with the group – identity fusion – that emerges from intense, shared dysphoric experiences or from perceived close kinship with others. Although Whitehouse's argument makes a valuable contribution to understanding extreme sacrifice, factors independent of identity fusion, such as devotion to sacred values, can predict self-sacrifice.

The “plant turn” in anthropology, while controversial, has led to a renewed focus on how humans relate to different species of plants. In this article, I aim to contribute to our knowledge of human-plant relationships by analyzing how historical actors used sacred plants in past ritual settings. I study criminal and civil cases involving shamans in late colonial Ecuador, with a focus on plant use. Legal records from 1782, 1793, 1800, and 1802 reveal information about the use of fragrant (...) plants believed to have transformative properties, the use of entheogens for non-visionary purposes, and even the incorporation of the sacred wanduc (Brugmansia sp) into the punishment of one shaman. This plant-focused approach to the reading of ethnohistorical documents provides a history of particular plants as they were used by individual actors in specific geographic and historical contexts, and sheds light on people’s understanding of human-plant-spirit relationships. (shrink)

The present contribution engages with two representative examples of middle-Byzantine ekphraseis, Photios’ description of the Virgin of the Pharos and Leo VI’s account of the church founded by Stylianos Zautzes. It aims at showing how these texts suggest modes of viewing the sacred space and decoration that pose, more than settle, questions about images and pictures, their intended function, significance and impact within their specific cultural frames of reference. Far from being neutral and disengaged, these verbal representations have a (...) specific agenda, which inflects the audience’s perception and interpretation of the decorated church space. Comparisons with coeval monumental evidence are also offered, in order to analyze textual and visual developments in parallel. (shrink)

In Greek inscriptions on cult foundations and regulations from the Hellenistic period onwards it is possible to see the development of an especial religious discourse that includes ancient and new hymnic elements, in addition to new topoi that do not belong to the Hymn tradition. This new religious discourse develops incorporating new features of Greco-Roman religion, strongly influenced by oriental cults, and at the same time well aware of the new philosophical trends that very much pervaded religion at this time. (...) Some sacred inscriptions from the third century BC onwards show precedents of elements well attested in the sacred literary prose of the second century AD. In this paper, the main topoi that constitute this new religious discourse will be analyzed looking specifically at the topoi concerning the founder of the sacred institution or norms, the god or gods worshipped and the worshippers, and also the topoi concerning the content of the foundation norms and the resources used to force the observance of the norms. (shrink)

Catherine Clement, Julia Kristeva, Femeia si Sacrul Editura Albatros, Bucureoti, 2001., 244 pg.

In lieu of an abstract, here is a brief excerpt of the content:Dante’s Poetics Of The Sacred WordSteven BotterillI hope to make a case that, until recently, would probably have seemed self-evident, or at least uncontroversial: namely, that a positive valuation of the power of human language to express and to represent informs the textual practice of Dante’s Commedia—or, to put it more bluntly, that Dante believes in words.1The language of poetry was, for Dante, the supremely demanding and supremely (...) rewarding form of human eloquence. This much is made clear in his significantly titled treatise De vulgari eloquentia (On Eloquence in the Vernacular), which, having set out—and failed—to identify a truly noble form of the Italian vernacular, takes it as axiomatic that if (or rather when) such a language is brought into being, it will primarily be used by poets in the composition of their poetry. Despite the many subsequent developments in his thought, and despite, above all, the drastic and often underestimated effects of his shift after 1300 from lyric to narrative-dramatic forms and techniques, nothing in Dante’s later works gives us any reason to think that he ever modified this view.Within the narrative of the Commedia, the overriding importance of eloquence is amply demonstrated by the fact that, without it, Dante-character’s journey would never have taken place. It is to poetic eloquence that Dante owes both his visionary experience and his eventual salvation. Confirmation of this initially startling proposition occurs in canto II of Inferno, where Virgil describes his commission from Beatrice to come to the aid of her errant admirer, and explains that he is charged to do so through the use of his “parola ornata” (“ornamented [End Page 154] word”: Inf., II. 67)—not merely a word plucked from the dictionary, however potently charged with salvific meaning, but a word (or, by synecdoche, a language) that is perceptibly embellished with the technical and rhetorical devices recognized by its hearers as constituting eloquence. Virgil, then, is not just to speak the saving word but to pay attention, as both his historical identity and his creator’s agenda require, to the aesthetic and intellectual implications of its usage; and the efficacy of his speech is manifestly dependent on the elegance and persuasiveness of its formulation.Dante-character’s initial recognition of his mysterious interlocutor in Inferno I as “quella fonte / che spandi di parlar sì largo fiume” (“that spring / that pours forth so rich a stream of speech”: Inf., I. 79–80) is thus retrospectively justified: this is the immediately relevant aspect of Virgil’s historical personality, the one that best equips him to become Dante-character’s guide and mentor in Hell and (most of) Purgatory. Likewise, it is under the auspices of another renowned possessor of eloquence, Bernard of Clairvaux, that Dante’s journey reaches its appointed end. The narrative movement through the Commedia is, among much else, a movement from one “parola ornata” to another, from Virgil’s eloquence to Bernard’s, from the pagan word that offers worldly renown to the Christian word that both transfigures the believer in this life and promises bliss in the life to come. The former, however, grounds the process that leads to the latter; and at both ends of the journey the functional significance of the word and its usage remains paramount.We need, however, to be careful at this point, lest we begin too quickly to entertain the notion that the centrality of eloquence in Dante’s thought immediately justifies the conclusion that he accepted the intrinsic validity of poetic language, or, more controversial still, its supremacy over other forms of eloquent discourse. Firstly, Virgil’s is not the only word in the poem distinguished as “ornata.” The epithet recurs in the bolgia of the seducers, as part of the tale of Jason, who “con segni e con parole ornate” (“with signs and with ornamented words”: Inf., XVIII. 91) led Hypsipyle astray and earned himself damnation. Clearly, Jason’s “parole ornate” are morally quite different from Virgil’s: instead of saving they betray, instead of embodying the truth they act as a vehicle of deceit. Their ornamental quality is specious, employed to conceal their... (shrink)

For many centuries now, those considering themselves civilized have carried out numerous atrocities—from abductions to dispossession to massacres—against those thought to be less civilized, all in the name of civilization. This has particularly been the case in the last 500 years when Europeans came into contact with indigenous peoples in their voyages of discovery and subsequent settlement. One of the justifications for these offences was often couched in terms of the self-appointed duty of “civilized” Europeans to bring the blessings of (...) civilization to the “savage” and “barbarian” hordes, also called the “white man's burden” or the “burden of civilization.” Many nations took up this sacred trust of civilization and the challenge of bringing enlightenment and salvation to the uncivilized peoples of the world, during which the latter were either subjugated or perished. In this article I trace the intellectual heritage of the sacred trust and note its inherent contradictions, ranging from debates between Sepúlveda and Las Casas over Spain's rights of conquest in the New World to the musings of key Enlightenment thinkers such as Locke, Hegel, Kant, and J. S. Mill. As some of its advocates acknowledge the sacred trust and concomitant civilizing missions were inevitably and invariably violent and went against the very idea of civilization. And as Las Casas deftly highlighted, much of the reasoning underpinning the sacred trust was in the form of “poisons disguised with honey.”. (shrink)

This paper explores Emmanuel Levinas' Jewish writings, and in particular, his Talmudic commentaries and essays on Judaism. The aim is to elicit some salient features of his methodological approach to the Jewish sacred texts. In general, Levinas' specific reflections on method (in terms of reading the Jewish Scriptures) are confined to sporadic, fragmentary comments interspersed throughout his writings. In extracting these reflections, a specifically Levinasian approach emerges. In particular, his approach shows how one may ethically encounter the Other(s) in (...) these sacred texts. (shrink)