A review of C. W. Smith's "Empiricist Devotion".

What does it mean to be religious believers for people whose living conditions are defined by an increasingly secularized environment? Is the common distinction between faith and knowledge valid? The 21 essays cover approaches from various fields of the humanities. Some explore post-Kantian thoughts, discussing, i.a., American Pragmatism, M. Buber, M. Horkheimer, H. Putnam, J. Habermas, Ch. Taylor and variants of deconstruction, while other essays focus on ways in which the conflict between agnostics and seekers is addressed in US literary (...) works, as in Fl. O’Connor, W. Percy, N. Hawthorne, J. Updike and in novels dealing with pandemics, for instance by L. Wright, E. M. Wiseman and R. Cook. Historical studies examine the intermingling of the sacred and the secular in the American South and neo-scholastic objections to modernity. Theological issues are being re-framed in essays discussing the relevance of pluralism, the relation of religious conviction and public opinion, the situation of scientists who believe and the thoughts of N. Frye and M. McLuhan. Finally, essays pay attention to religious aspects in works of art, e.g. in Ukrainian poetry, G. Mahler’s symphonies and in a TV show presenting new “American Gods” of globalization. (shrink)

The three books we are to consider, although each has its own integrity and individual theme, are bound together by their common concern for poetry and religion, theology and philosophy. Martz and Ross are interested chiefly in the relations between poetry and theology, while the essays edited by Hopper concentrate more upon the aims and beliefs of the artist in his cultural setting and especially upon those features of the contemporary world which raise problems of a religious (...) character. No series of essays, of course, can ever have the unity of a book by a single author, but there is a dominant theme in Spiritual Problems and it may be described as the relation between religion and the creative work of the contemporary artist. Behind virtually every essay is a concern for how religion should be related to culture and for the manner in which the novelist, dramatist and poet should treat those problems of modern life which can best be characterized as religious. (shrink)

The Heideggerian rupture in the history of philosophy in the name of a phenomenological and poetic ontology has provided an opening which many of the key figures in twentieth century continental thought have exploited. However, this opening was marked by Heidegger himself as an ambiguous one, insofar as metaphysics was perhaps integrally ‘onto-theology,’ that is, ultimately continuous with the world-historical capture of the thought of being. This piece argues that the philosophy of Alain Badiou, which departs from the recognition that (...) Heidegger is the ‘last universally recognised philosopher’, provides the means for a radical reconsideration of the philosophy-theology relationship in its specifically Heideggerian form, involving as it does further questions of science and technology, the status of the poem, and the nature of ontological thought as such. We argue that, through the deployment of mathematics as ontology, the Gordian knot of onto-theology and its legion of consequences can be cut, and a new assemblage of many of the key Heideggerian motifs can be put into play: the poem, history, and philosophy itself. (shrink)

This study is an important contribution to the intellectual history of Victorian England which examines the religio-aesthetic theories of some central writers of the time. Dr Fraser begins with a discussion of the aesthetic dimensions of Tractarian theology and then proceeds to the orthodox certainties of Hopkins' theory of inscape, Ruskin's and Arnold's moralistic criticism of literature and the visual arts, and Pater's and Wilde's faith in a religion of art. The author identifies significant cultural and historical conditions which (...) determined the interdependence of aesthetic and religious sensibility in the period. She argues that certain tensions in the thought of Wordsworth and Coleridge - tensions between poetry and religion, rebellion and reaction, individualism and authority - continued to manifest themselves throughout the Victorian age, and as society became increasingly democratic, religion in turn became increasingly personal and secular. (shrink)

In ancient Greece, philosophers developed new and dazzling ideas about divinity, drawing on the deep well of poetry, myth, and religious practices even as they set out to construct new theological ideas. Andrea Nightingale argues that Plato shared in this culture and appropriates specific Greek religious discourses and practices to present his metaphysical philosophy. In particular, he uses the Greek conception of divine epiphany - a god appearing to humans - to claim that the Forms manifest their divinity epiphanically (...) to the philosopher, with the result that the human soul becomes divine by contemplating these Forms and the cosmos. Nightingale also offers a detailed discussion of the Eleusinian Mysteries and the Orphic Mysteries and shows how these mystery religions influenced Plato's thinking. This book offers a robust challenge to the idea that Plato is a secular thinker. (shrink)

Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear (...) their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church. (shrink)

Interpretations of Poetry and Religion is the third volume in a new critical editionof the complete works of George Santayana that restores Santayana's original text and providesimportant new scholarly information.Published in the spring of 1900, Interpretations of Poetry andReligion was George Santayana's first book of critical prose. It developed his view that "poetry iscalled religion when it intervenes in life, and religion, when it merely supervenes upon life, isseen to be nothing but poetry." (...) This statement and the point of view it espoused contributedsignificantly to the debate between science and religion at the turn of the century, and itseloquence and clearsightedness continue to have an impact on current discussions about the nature ofreligion.Interpretations of Poetry and Religion affronted Santayana's peers with its assault onliterary and religious pieties of the cultivated classes. William James called its philosophy ofharmonious and integral ideal systems nothing less than "a perfection of rottenness."In hisinsightful introductory essay, Joel Porte observes that while Santayana's theory of correlativeobjects, his espousal of the "ideal" - the normal human affinity for abstraction - and exaltation ofthe imagination may have offended some at Harvard, these ideas had a significant influence on otherHarvard scholars T.S. Eliot and Santayana's "truest disciple," Wallace Stevens.Herman J. Saatkamp,Jr., heads the Department of Philosophy and Humanities at Texas A & M University. William G.Holzberger is a Professor of English at Bucknell University. Joel Porte is Whiton Professor ofAmerican Literature at Cornell University. (shrink)

This book is one philosopher's response to the poetry of R. S. Thomas. It examines the poet's struggle with the possibilities of sense in religion: R. S. Thomas has described his poetry as an obsession with the possibility of having 'conversations or linguistic confrontations with ultimate reality'. Some attempts at giving meaning to religious belief cannot withstand the assaults of criticism. In R. S. Thomas's verse, however, there emerges a hard-won celebration of the worship of a hidden (...) God; a rare achievement in contemporary poetry. In plotting the course of the development of the poetry, the book brings out its many similarities with the thrusts and counter-thrusts of argument in the philosophy of religion in the second half of the twentieth century. The book should be of interest not only to admirers of R. S. Thomas, but to philosophers, theologians, students of literature, and to anyone concerned with questions concerning the sense or senselessness of religious belief. (shrink)

By examining how the best art and poetry address our need for spiritual orientation, this book makes a valuable contribution to the philosophies of art, literature, and religion, and brings deserved attention to the significance of the ...

This article compares the poetry of two prominent modern writers: Polish-Jewish poetess Zuzanna Ginczanka, and Ukrainian Lemko poet Bohdan-Ihor Antonych. They are believed to have certain poetic, stylistic, thematic, and literary similarities. The main discourses of their poetic imaginum mundi are studied with the use of a simple formula that includes five components. Tracing the interplay of nature, childhood, religion, and civilization in the development of an image of a holistic personality in their poetry, I analyze their (...) common and differing ideas, images, motifs, and themes. The article also outlines the underlying similarities of both poets, i.e., their otherness, and their references to childhood as a certain place in their poetry. (shrink)

The third and purportedly final attempt to outline a personalism appropriate for a post-modern, post Marxist cultural phase, linked to but independent of Grant's (English, U. of Victoria, British Columbia) Literature and Personal Habits (1992) and Spirituality and the Meaning of Persons (1994). Concerned here with the idea of the person in relation to the politics of culture, he considers certain relationships between literature and religion to find clues about persons and human community. Annotation copyrighted by Book News, Inc., (...) Portland, OR. (shrink)

This collection of essays is an exercise in comparative philosophy of religion that explores the different ways in which humans express the inexpressible. It brings together scholars of over a dozen religious, literary, and artistic traditions, as part of The Comparison Project's 2013-15 lecture and dialogue series on "religion beyond words." Specialist scholars first detailed the grammars of ineffability in nine different religious traditions as well as the adjacent fields of literature, poetry, music, and art. The Comparison (...) Project's directors then compared this diverse set of phenomena, offering explanations for their patterning, and raising philosophical questions of truth and value about religious ineffability in comparative perspective. This book is the inaugural publication of The Comparison Project, an innovative new approach to the philosophy of religion housed at Drake University (Des Moines, Iowa, USA). The Comparison Project organizes a biennial series of scholar lectures, practitioner dialogues, and comparative panels about core, cross-cultural topics in the philosophy of religion. Specialist scholars of religion first explore this topic in their religions of expertise; comparativist philosophers of religion then raise questions of meaning, truth, and value about this topic in comparative perspective. The Comparison Project stands apart from traditional approaches to the philosophy of religion in its commitment to religious inclusivity. It is the future of the philosophy of religion in a diverse, global world. (shrink)

As a way of thinking through the bleakness of the political present through which we are all too precipitously moving, this essay attempts to demonstrate the interconnections between three concepts: politics, law and religion. By way of a detailed reading of Rousseau, I try to show how any conception of legitimate politics and law requires a conception of religion at its base and as its basis. In my view, this is highly problematic and in the conclusion an argument (...) is presented for a politics of the supreme fiction, which attempts to show how poetry might take the place of religion. (shrink)

In his ‘deconstruction of Christianity’, Jean-Luc Nancy seeks to show how our modern, secular society and its so-called Christian ‘roots’ are co-original and mutually constitutive. As a result of this mutual constitution, the Christian religion is fundamentally characterised by its own deconstruction. This article focuses on one element of this auto-deconstructive movement of Christianity: that of prayer, or more generally, of addressing God. According to Nancy, prayer reveals how Christianity contains at its core, or rather as its core, the (...) principal absence of its God and therefore the kernel of its own secularisation. This article examines why, in Nancy’s work, prayer has to be understood both as a form of demythologisation, as well as a poetic movement, a movement correlating with, and proper to, poetic practices. In adopting such an approach, Christianity’s auto-deconstruction is explained as a question of language. (shrink)

Ever since Plato’s famous attack on artists and poets in Book 10 of The Republic, lovers of literature have felt pressed to defend poetry, and indeed from ancient times down to the present, literature and art have had to fight various battles against philosophy, religion, and science. After providing a brief overview of this conflict and then arguing that between poetry and science there are some noteworthy similarities---that is, that some of the basic mental structures with which (...) the scientist studies the “text‘ of nature (facts, laws, theories) find their counterparts in ways an informed reader studies the poetic text, I develop what I see as the most important differences between poetry, on the one hand, and science, philosophy, and theology, on the other. These differences lie chiefly in two areas: (1) in the stance that each takes toward language itself and (2) in the stance each takes toward that ancient polarity between the one and the many. The aim of my argument is neither to privilege poetry over the other modes of knowing the world nor to grant, particularly to science in its reductive “objectivity,‘ a higher epistemological status than that accorded to poetry and the arts. Instead, I wish to argue that science, by pushing the boundaries of knowledge about the material world, shows the poet, as well as the theologian, some of the more important work to be done and that poetry, with its emphasis on the particular over the abstract and on the ambiguities and paradoxes of language as inherently metaphorical, serves science and religion by providing a caution against the naive acceptance of language as literal and the consequent enthrallment to the power of absolutes and totalizing abstractions. (shrink)

Since early modern times, art has paralleled religion in its response to technology as illustrated by Ruskin’s thoughts on the colour purple. Heidegger also turned to art, especially the poetry of Hölderlin, as an alternative to technology. Against the background of Benjamin’s essay on ‘The Work of Art in the Age of Technical Reproducibility’, the question is asked whether the thoroughly technicized art of film can become a focus for such creative counter-technological thinking. A positive answer is developed (...) with reference to Andrei Tarkovsky’s film Nostalgia. (shrink)

Interpretations of Poetry and Religion is the third volume in a new critical edition of the complete works of George Santayana that restores Santayana's original text and provides important new scholarly information.Published in the spring of 1900, Interpretations of Poetry and Religion was George Santayana's first book of critical prose. It developed his view that "poetry is called religion when it intervenes in life, and religion, when it merely supervenes upon life, is seen (...) to be nothing but poetry." This statement and the point of view it espoused contributed significantly to the debate between science and religion at the turn of the century, and its eloquence and clearsightedness continue to have an impact on current discussions about the nature of religion.Interpretations of Poetry and Religion affronted Santayana's peers with its assault on literary and religious pieties of the cultivated classes. William James called its philosophy of harmonious and integral ideal systems nothing less than "a perfection of rottenness."In his insightful introductory essay, Joel Porte observes that while Santayana's theory of correlative objects, his espousal of the "ideal" - the normal human affinity for abstraction - and exaltation of the imagination may have offended some at Harvard, these ideas had a significant influence on other Harvard scholars T.S. Eliot and Santayana's "truest disciple," Wallace Stevens.Herman J. Saatkamp, Jr., heads the Department of Philosophy and Humanities at Texas A & M University. William G. Holzberger is a Professor of English at Bucknell University. Joel Porte is Whiton Professor of American Literature at Cornell University. (shrink)

A nicely printed paperback reissue of some essays in which Santayana tries to show that "religion and poetry are identical in essence."--A. C. P.

These authors describe their relationships with nature and childhood in the context of major Western traditions of philosophy and religion.

The postmodern human lives in a quest condition. Poetry and philosophy, as forms that integrate, shape, and deposit the sacred, are part of the instruments used by postmoderns to fulfill their need for communication and personal accomplishment. Although they use different means to construe reality, poetry and philosophy may serve a common end goal – to disclose philosophy as the art of living. As communication practice, philosophy and poetry are based on an expanded rationality involving the rational (...) extended to the sphere of the significance and hidden sense of existence. In other words, expanded rationality presupposes cultivating a symbolic consciousness that is adequate to the daily reality of human needs. To showcase the intimate relationship between philosophical reflection and poetic creation, I provide a short presentation of the poetry belonging to a Romanian poet, Rodica Dragomir. Her poems are an example of the quest for authenticity by means of the metaphysical stirring of existence. (shrink)

The personality of Metropolitan Bartolomeu Valeriu Anania has been extremely complex, first of all due to the various domains of his work - literature, essays, art history, theology and biblical theology -, and secondly due to his relation to politics, especially his connections with the Legionary Movement and with Communism. Despite having been incarcerated as a political prisoner in some of Bolshevik Romania's famous prisons (Jilava, Pitești, Aiud), Bartolomeu Valeriu Anania is still accused of having collaborated with the political police (...) of Ceaușescu's regime, Securitatea . The present text analyses the writer's work in order to explain the relationship between religion, literature, and politics, stressing both their connections, as well as his journey from being a writer to being the theologian commenting on and revising the translation of the Holy Scripture. The analysis is therefore oriented towards Valeriu Anania's literary works, namely his poetry, prose, and theatre, so as to underline its religious background, be it either theological or alluding to Romanian popular religiosity; furthermore, it focuses on his theology, from icon to biblical theology, stressing the associations with literature and the importance of literary workmanship. Finally, based on the cultural analyses which unveil his deep affection for the Romanian spirituality and considering several politically controversial episodes of his biography, the text will attempt to argue in favour of the lack of sufficient and reliable evidence that could prove his collaboration with the political police of Communist Romania. (shrink)

Este artigo tem como objetivo refletir sobre a relação entre religião e literatura a partir poética mística de Adélia Prado. Apresentarei brevemente alguns métodos que exploraram e ainda exploram essa aproximação. Também mostrarei a estreita relação entre mística e poesia e como ela se apresenta na obra de Adélia Prado. Essa estreita relação permite-nos nomear a obra de Adélia Prado de poética mística e é a partir dessa noção que será feita uma leitura teológica na poética da mineira de Divinópolis, (...) destacando as reflexões sobre importantes aspectos para a tradição teológica cristã e para a existência humana em geral que emergem da sua poesia. A conclusão do percurso é que a poética mística de Adélia Prado é profundamente marcada por uma caminhada rumo à iluminação mística, o que nos permite dizer que se trata de uma canção que celebra a vida em seus mais diferentes aspectos, afirmando o corpo como lugar de encontro com Deus. Palavras-chave : Adélia Prado. Religião. Literatura. Mística. Poesia.This article reflects on the relationship between religion and literature in the mystical poetry of Adelia Prado. Some methods that have explored such relationship will briefly be presented. This paper also aims to explore the close relationship between mysticism and poetry and how it is presented in the work of Adelia Prado. This close relationship helps us to make a theological study of the poetry of Adélia and also allows us to highlight some insights on important aspects of her poems for Christian Theology e for human being. In sum, the mystical poetry of Adélia Prado is deeply influenced for a path towards mystical enlightenment, which allows us to say that her work is a like a song that intends to celebrate life in its different aspects, highlighting the human body as the place where the human being finds God. Keywords: Adélia Prado. Religion. Literature. Mystical. Poetry. - DOI: 10.5752/P.2175-5841.2012v10n25p120. (shrink)

Mullah Jazarī’s Sufi and mystic poetry blends the Kurdish and the Arabic languages under the influence of the Persian and Turkish tradition of poetry. This is manifested as a cross-cultural element in his poetry. This study examines this cross-cultural manifest Aron in Mullah Jazarī’s poetry through his poetical expressions on religion and Sufism. The main strength of his poetry is the blend of religion and Sufism in a symbolic and allegorical portrayal of the (...) concepts of love and beauty of the Divine. There is a dearth of studies on the Divine aspect of Beauty in Mullah Jazarī’s Sufi poetry. This study adopted a historical and descriptive research design to collect and investigate evidence of the cross-cultural manifestation in Mullah Jazarī’s poetry. Both primary and secondary data were used from available sources to fill the literature gap. The study found out that love and beauty are two most fundamental themes of Mullah Jazarī’s poetry, manifested through a symbols and analogies. Due to its mystic approach, the readers are enchanted by the manner in which the poet unites the love and beauty of a woman with the divine mystical experiences. (shrink)

After receiving the divine authorization from Allah to openly notify people of Islam, the Messenger of Allah started to publicly to invite the people of Mecca to Islam. Idolaters however felt heavy shame to give up the faith of their ancestors, and the pagans did not accept the Prophet's invitation to Islam. They applied various pressures to the Messenger of Allah and the believers to renounce the cause of Islam. When the animosity against the new Muslims became intolerable, Almighty Allah (...) gave permission to immigrate, first to Habasha and then to Medina. Some of the companions of the Prophet periodically immigrated to Habasha and then to Medina. In the sources that have survived to the present day, poets (ṣaḥāba: companion of the Prophet Muhammad peace be upon him) reflect the events experienced during the immigration to Medina and the intensity of emotions they felt during the holy journey. These poets demonstrate in their writings a sense of elation and pride, having followed the Prophet's favorable advice to immigrate to Medina and portend that their religion will be strengthened in Medina by their presence. Their poems in terms of style are more focused on unscripted, or spontaneous feelings, a style of pauses to give harmony between the shorter verses, unlike long poetic tradition in the period of ignorance (Jāhiliyya).Summary: The Messenger of Allah comes into the world of Mecca, where injustice and distorted belief forms prevail, and when he is forty years old, he is commissioned as a prophet by Allah Almighty. Considering the possibility that the Islamic invitation will not be accepted and welcomed by the pagan Arabs in Mecca, the Prophet tries to spread his cause among the people only he has trusted for three years. When revelation regarding publicly conveying Islam came, the Prophet begins to openly invite the people of Mecca to Islam. Since leaving the beliefs that are patrimonies preponderated the pagans, they started oppressing the Prophet and the believers. When the pressure exerted by the pagans exceeded the limit of tolerance, the Prophet advised the Ṣaḥāba for the temporary migration to Abyssinia. Some Muslims in need of protection followed the advice of the Messenger of Allah, and they migrated to Abyssinia. In the meantime, the Prophet was under the protection of his uncle Abū Ṭālib. After the death of Abū Ṭālib, the pressure on the Prophet increased day by day. Moreover, it was even planned by the pagans to have them eradicated through conspiring against them. The Prophet, who understood that he cannot convey Islam in Mecca, went to Tāif to describe his case. The Prophet, however, faced a harsh reaction in Tāif and was forced to return to Mecca.In the meantime, the people of Medina were in search of a leader to eliminate the mess in consequence of wars and instability with Jews on the one hand and among each other on the other hand. The Prophet came to Mecca in the Ḥājj (pilgrimage) season and also presented the religion of Islam to groups from Medina People who perceived that the Prophet has the features to overcome the disasters between them, they pledge allegiance to the Prophet through the agreements known as Bay‘a al-‘Aqaba in the region called al-‘Aqaba, respectively as Bay‘a al-‘Aqaba I and II. In this way, the city of Medina became ready to welcome the immigrants and to be a base of the Islamic religion that will open up to the world. Almighty Allah is first allowed to Ṣaḥāba and then to Prophet to migrate to Medina and with migration of Prophet to Medina, a significant breakthrough was achieved in the history of Islam.Since the issue of the migration to Medina corresponds to the early period of Islam, the sources of poetry reflected the migration of the Ṣaḥāba to Medina are few in number. Relevant texts in the available sources can be found consist of five articles as, three of them belong to Abū Aḥmad b. Jaḥsh, the fourth belongs to Bujaid b. 'Imran al-Huzâ'î'e and the last one belongs to an unknown poet. Because of his connection to the hegira, a verse pursuant to idolater poet Utbe b. Rabî‘a was also included in the subject. In related poem texts, it is seen that the Ṣaḥābahs poets had prided themselves on the fact that they followed the advice made by the Messenger of Allah on his way to hegira to Medina and they tried to reflect the intensity of emotions they experienced in the face of the developments that occurred since the first moments of the movement of emigration to the poems. Determined to migrate to Medina in order to strengthen the Islamic invitation, the poet Abū Aḥmad reflected the self-confidence of walking on the right way. Abū Aḥmad promised the Messenger of Allah that he will migrate to Medina and he was faithful to his word. Abū Aḥmad tried to resolve his concerns of his wife Umm Aḥmad that they might be harmed by the polytheists if they migrate to Medina and emphasized that they migrate to Medina in order to strengthen the God Almighty against superstitions.Undoubtedly, the concerns of Umm Aḥmad in this context give clues about the dimensions of mobbing, oppression and torture policies applied to Muslims in Mecca. Abū Aḥmad and his associates were full of belief that Almighty Allah will meet their expectations as they migrate to Medina in line with the recommendations of the Prophet. In this respect, the poet turns a deaf ear to the advice of many men, women and friends to not to leave Mecca environment that he was born and grew up in and the memories that adorns his inner life shaped. The poet also points to the importance of the fellowship of Islam, rather than the spirit of Jāhiliyya As a matter of fact, because of tribal chauvinism, the poet called for the termination of hostilities in the past and convinced those around him to follow the call. In this respect, the poet is in peace with the fact that the family members will also have the blessings waiting for those who migrate for Allah. According to the poet, the idolaters who favored blasphemy and who opposed Muslims, deserved the wrath of Allah. Even if there are blood ties with the Muslims, the idolaters who favor the blasphemy and opposed the Muslims are frustrated. In another poem, the poet also boasts Ghanm family, of whom he was a member, because they had fulfilled the promise they had given to the Prophet, that they would migrate to Medina. According to the poet, the Ghanm family is essentially loyal to the Prophet. As a matter of fact, the Ghanm family, which once occupied Mecca and lived off in Mecca, left the lands they lived in for Allah and migrated to Medina in groups of single and two in order to strengthen the invitation to Islam.Poet Bujaid b. ʿImrān al-Khuāz‘i boasts about the fact that Khuzā'a tribe, of which he was a member, that is the lower tribe of the Kaʿb sons, supported the Prophet and some of his people migrated to Medina in his verses. In fact, according to the poet, the members of the Khuzā'a tribe trotted off to the Medina on the advice of the Prophet without wasting any time. Moreover, due to the agreement between the Khuzā'a tribe, who played a key role in the reasons causing conquest of Mecca, and the Prophet, Mecca was conquered and Mecca skies were cleaned from idolatry mist. The Khuzā'a tribe was instrumental owing to their admirable attitude in the conquest of Mecca and the Prophet to gain strength, despite the idolaters who once forced the Prophet to leave Mecca. In the verses of the unidentified poet, it is seen that the names of the eight Ṣaḥāba who were subjected to oppression in the most troubled early periods of Islam, who left their homeland for Allah, migrated to Abyssinia or Medina and were heralded to enter heaven were mentioned. According to an unidentified poet, it is not possible for anyone to reach the rankings of these eight people due to the beautiful actions they performed.In the last poem text, it is seen that the poet Abū Aḥmad was dissatisfied with the confiscation and sale of his house by Abū Sufyān when he emigrated to Medina. In the verses, the poet likens his home being unjustly confiscated by Abū Sufyān to a hunter holding the dove he seized tightly and he emphasizes that he will get his due in the afterlife from Abū Sufyān.The poetry texts bearing the traces of migration to Medina are a continuation of the poetry technique of the period of Jāhiliyya in terms of the poetry technique, when wordings that are in accordance with the spirit of Islam are left aside. As a matter of fact, poets try to reflect the intensity of emotions they live in short verses instead of long term poems. Again, poets use the types of art, such as borrowing, metaphor and comparison, which are frequently used in the poetry of the Jāhiliyya in order to bring the intensity of emotion they live in closer to the audience's perception. Poets build on these poems on taweel, muteqâreb, baseet and qamel, which are frequently found poetic measures in the poetry of Jāhiliyya. As a last word, it is necessary to say that the poetry texts of Ṣaḥāba poets are historical objects in terms of shedding light on the events experienced during the Hijra. Again, the poem texts in question are important in terms of getting an idea about the state of old Arabic poetry during the transition period from the period of Jāhiliyya to the period of Islam. (shrink)

Modern scholarship has tended to separate literature and theology. Yet it is impossible to understand the ideas of such Victorian theologians as Hare and Maurice, Keble and Newman without reference to contemporary literary criticism - just as it is impossible to understand criticism of the period (and the sensibility it implies) isolated from its theology. This book is an attempt to reinterpret a whole theological tradition in the light of its members' views on language and poetry, and associated ideas (...) of imagination, myth and symbol. Dr Prickett argues that Coleridge and Wordsworth began a theological revolution by reintroducing to the Anglican Church a mode of thinking that had become submerged, or died out. "Their 'organic' aesthetics, with roots both in England and Germany, carried with them a theory of symbolism and of the unconscious, which, while originally derived from theology, provided an independent and parallel tradition to contemporary 'Paleyite' apologetic. From them Maurice, Keble and Newman were able to draw the conception of an 'idea' as living and creative, and of the Church itself as 'poetic'. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The War with God: Theomachy in Roman Imperial Poetry by Pramit ChaudhuriMartin T. DinterPramit Chaudhuri. The War with God: Theomachy in Roman Imperial Poetry. Oxford: Oxford University Press, 2014. xvi + 386 pp. Cloth, $74.We are all fighting our own demons, but some of us—so Chaudhuri tells us—are even fighting our own gods. Accordingly, a wide range of theomachs and their representation in classical literature fills (...) the ranks of this excellent book that will certainly elbow its way onto Mt. Olympus to sit comfortably next to divine Feeney (1991 and 1998) and sublime Hardie (1986 and 1993). Indeed, Chaudhuri transcends the scope of Feeney (1991) by including not only Senecan (and Attic) tragedy but also texts and contexts ranging from panegyric to philosophy and from lyric to historiography.Chaudhuri’s book falls into three parts. Its first three chapters cover theomachy in Greek poetry (Homer and Attic tragedy), as well as the development of theomachy in Augustan epic, with chapters on Lucretius and Vergil and Ovid. Here, Chaudhuri introduces some of the main patterns and contexts that will be developed in later imperial poetry. Chaudhuri also states clearly what will not be covered here at length: the voyage myths of the Odyssey and the Argonauts, Aristophanes’ Birds, and the (pseudo-) Aeschylean Prometheus Bound. Part 2 covers Neronian literature with Seneca’s Hercules Furens and Lucan, while Part 3 focuses on the Flavian era, with Silius and Statius. Statius’ Capaneus forms a highpoint amongst the theomachs and thus deservedly receives extra attention. Chaudhuri rounds off the Flavian section with a chapter on the politics [End Page 177] of theomachy, in which he samples theomachy as a trope for the confrontation between subject and ruler, ruler and god, rival emperors and the confrontation of dynasties. After all, the Flavian poets had witnessed the principate develop over time, the struggles for the throne, and the rise and fall of dynasties. This is followed by a titillating epilogue showcasing how the themes developed in the previous chapters that breach the divide between mortal and immortal (such as fame, equanimity, skepticism, and poetic and imperial apotheosis) echo through the centuries. Rarely, however, do we find simple didactic moralism. Instead, “the theomach is instrumental in generating a dialogue on the broader symbolism of fighting the gods, its stakes and implications” (323). Chaudhuri can but hint at the rich afterlife of the theomach across Europe from the fifteenth to the seventeenth centuries, a subject that would fill a second volume. He nevertheless whets the reader’s appetite by pointing to Milton’s Paradise Lost and Samson Agonistes, Ariosto’s Orlando Furioso, Christopher Marlowe’s Tamburlaine, Dante’s Inferno, and Tasso’s Gerusalemme Liberata, as well as a host of epigraphs to each chapter, and concludes with a glance at the twentieth and twenty-first centuries with Philip Pullman’s His Dark Materials, Richard Dawkins versus God, and modern physicists’ search for a God particle.Chaudhuri sets the volume off by contrasting theomachy with gigantomachy. While the feats of the Giants “remain far distant in time from the activities of humankind … the theomach speaks the language of humanity … offering a richer context for his radical aspirations and … inviting the audience to adopt an alternative view on the theological status quo” (5). He also places theomachy in its cultural context when he follows Momigliano’s (1984) suggestion that under Augustus poetry replaced antiquarianism and philosophy as the primary genre in which to think about the gods. The figure of the contemptor divum (despiser of the gods) thus comes to embody the contrast between piety and impiety which itself is grounded in the empirical basis of Roman religion. But rather than testing methods of communication with the divine, as the Romans so often did with divinatory practices and ritual protocols, the contemptor divum tackles the question of whether it is possible to know the divine at all and whether the gods even exist. “By placing these conflicts at the heart of their works, the epic poets expanded the cultural conversation to include the testing of the divine in the Romans’ attempts to make sense of the epistemological, theological, and political concerns pertaining... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry by Pauline A. LeVenTom PhillipsPauline A. LeVen. The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge: Cambridge University Press, 2014. x + 377 pp. Cloth, $99.The “New Music” of the late fifth and early fourth centuries b.c.e. has been subject to a revival of interest in recent years. Most scholarship, (...) however, has tended to focus either on socio-historical aspects of performance culture or on the philological problems posed by texts such as Timotheus’ Persians. The corpus of fourth-century hymns by authors such as Aristonous and Philodamus has likewise been a minority pursuit, addressed in the main by historians of religion and epigraphers rather than literary critics. This monograph provides a welcome change in emphasis. Resolutely literary in her approach, LeVen elaborates readings that challenge assumptions about a qualitative decline in late classical literature, arguing instead for reading these texts in terms of their particular interpretative demands and situating them in a continuum of literary developments. The New Musicians emerge not as vapidly showy musical and dramatic virtuosos, but as composers of considerable verbal sophistication who developed and extended traditional poetic techniques while also demanding new kinds of emotional and interpretative engagement from audiences. The textual strategies at work in the hymnic corpus are also brought into sharper relief, particularly as regards the effects created by the interplay of performance and material inscription. The result is a valuable contribution to scholarship: as well as situating the New Music in relation to earlier song culture, LeVen shows how some of the strategies [End Page 357] employed by Timotheus and his contemporaries anticipate literary developments in the Hellenistic period. As such, this book will be of interest to all students of ancient Greek poetry.The book begins with an overview of poetic activity in the late classical period, including a useful set of tables that present the literary and epigraphic sources grouped by type. LeVen also surveys developments in scholarship on the New Music, recapitulating the case for caution when assessing the evidence of ancient critics and comedians, and making a strong case for the importance of engaging with the poems’ “dynamics of allusion, emulation, and intertextuality” (69). The rest of the book consists of case studies concerned with individual authors and corpora, and thematic chapters discussing the New Musicians’ linguistic innovations. The first group includes a chapter on Philoxenus of Cythera (chap. 3), a discussion of the Dinner Party attributed to Philoxenus (chap. 6), and readings of the inscribed hymns (chap. 7). The discussion of Philoxenus of Cythera focuses mainly on the anecdotes about his life preserved by Athenaeus, Machon, and other later authors. LeVen explores these texts’ persistent concern with the interrelated issues of food, xenia, and poetry, and their varying figurations of Philoxenus’ character. She also argues convincingly that the Dinner Party (PMG 836) should be attributed to Philoxenus of Cythera (114–18), and a good part of chapter 6 is devoted to an analysis of this text. Her readings emphasize the poem’s creation of an interpretative dialogue: the speaker presents not just an ekphrasis but also an “appeal to his own feelings and to those of his internal addressee” which underlines the “social dimension” of dining (257). More controversially, she also argues that it was performed as a dithyramb: as a text performed on the public stage, its detailed descriptions of fine dining “collaps[e] the distinction between... the public competitions at festivals and sacrifices and the private elegant home” (261).In her concluding remarks about the role played by the symposium in fourth-century poetic culture, LeVen sees the distinctiveness of the period not in poems being performed in multiple locations but in “the open traffic” between public and private performance settings, “the symposium importing passages from the dramatic stage and exporting some of its traditional motives and forms of expression to more public settings, dramatic and beyond” (268). The remainder of chapter 6 is concerned with the hymns to Virtue and Health of Aristotle and Ariphron, while chapter 7 deals with inscribed hymns such as the Erythrean paeans, Aristonous’ Hymn... (shrink)

Cambridge Professor Basil Willey wrote this volume as a companion to his preceding work on the Seventeenth Century Background. Whereas the 17th C. key word was "Truth," he maintains the 18th C key word was "Nature." Organized in 12 chapters including "The Wisdom of God in the Creation, Cosmic Toryism, Natural Morality--Shaftesbury, Nature in Satire, Jos. Priestley and the Socinian Moonlight, and Nature in Wordsworth.

Writing in the cosmopolitan metropolis of Baghdad, Alfarabi (870-950) is unique in the history of premodern political philosophy for his extensive discussion of the nation, or Umma in Arabic. The term Umma may be traced back to the Qur'ān and signifies, then and now, both the Islamic religious community as a whole and the various ethnic nations of which that community is composed, such as the Turks, Persians, and Arabs. Examining Alfarabi's political writings as well as parts of his logical (...) commentaries, his book on music, and other treatises, Alexander Orwin contends that the connections and tensions between ethnic and religious Ummas explored by Alfarabi in his time persist today in the ongoing political and cultural disputes among the various nationalities within Islam. According to Orwin, Alfarabi strove to recast the Islamic Umma as a community in both a religious and cultural sense, encompassing art and poetry as well as law and piety. By proposing to acknowledge and accommodate diverse Ummas rather than ignoring or suppressing them, Alfarabi anticipated the contemporary concept of "Islamic civilization," which emphasizes culture at least as much as religion. Enlisting language experts, jurists, theologians, artists, and rulers in his philosophic enterprise, Alfarabi argued for a new Umma that would be less rigid and more creative than the Muslim community as it has often been understood, and therefore less inclined to force disparate ethnic and religious communities into a single mold. Redefining the Muslim Community demonstrates how Alfarabi's judicious combination of cultural pluralism, religious flexibility, and political prudence could provide a blueprint for reducing communal strife in a region that continues to be plagued by it today. (shrink)

Through the influence of the religious mystical thought, which interprets the human as a traveler and the world as a destination to settle in and migrate from, numerous connotations as to the road, the passenger as well as the journey have been created in Turkish Ṣūfī poetry. The caravan, which takes place in poetry as an element of simile (tashbīḥ) and generally within the framework of metaphor (majāz) is one of these associations. In Ṣūfī texts, the caravan symbolizes (...) the spiritual journey of the sālik, who wants to reach the rank (maqām) of the Perfect Human Being in the footsteps of the leading figures of the religion and Ṣūfīsm (Taṣawwuf). The caravan has passed, which is understood as a symbol peculiar to the lore language, looks like a formula of a series of advice that reminds and warns people of the responsibilities they are obliged to fulfill even though life is short and the world is temporary. Being delayed of the unwary traveler when the caravan has passed was used in the sense that the sālik could not make use of his life, time, and opportunities; and the situation of the person who was left behind and separated from the caravan was generally met with the analogy of a lame donkey. In this study, which is about the caravan as a mystical metaphor (majāz), the survey model, one of the qualitative research methods, was used. The research aims to determine the use of the caravan metaphor (majāz) in the examples of Ṣūfī poetry and meanings it has gained in Ṣūfī terminology. For this purpose, the major works written between the 12th and 19th centuries in Turkish Ṣūfī poetry have been investigated, and the data obtained have been evaluated in the light of the works and views of the leading figures who have been influential on Turkish Ṣūfī culture and literature. The study, which is thought to contribute to the understanding of the metaphors (majāzs) that Turkish Ṣūfī poetry is based on is important since it reveals that the usages the caravan has passed is one of the common symbols of Ṣūfīsm (Taṣawwuf). As a result of the research, it was found out that the metaphor (majāz) of the caravan has existed in poetry uninterruptedly since the 12th century when Turkish Ṣūfī literature began to take shape. Although time, place, and persons change, the meanings attributed to the metaphor (majāz) of the caravan are almost the same. Especially in the poems containing advice, the metaphor (majāz) of the caravan was frequently used to guide people and human life was associated with the caravan. In this respect, it can be said that the metaphor (majāz) of the caravan has a traditional usage in Turkish Ṣūfī poetry. On the other hand, the usage of the caravan metaphor (majāz) in Turkish Ṣūfī poetry and the usage in Iranian literature show similarity. As a matter of fact, starting with Aḥmed Yesevī (d. 562/1166), many Ṣūfī poets depicted the same journey in a similar way, and Saʿdī-i Shīrāzī (d. 691/1292) dealt with the same theme in a way that coincided with the narrative and vocabulary of Turkish poets. The fact that the caravan is determined with similar uses in the poems of different societies as a Ṣūfī symbol shows that the metaphor (majāz) of the caravan has a common usage regarding Ṣūfīsm (Taṣawwuf) in the wide cultural geography of Islam. The metaphor (majāz) of the caravan has a special usage in Turkish Ṣūfī poetry in the form of the caravan has passed. Expressions in the style of the caravan has passed which succinctly fit a long adventure into two words, are symbols peculiar to the lore language, and serve as psychological advice in Turkish Ṣūfī poetry. On the one hand, this symbol deals with the caravan journey in the dimension of truth, on the other hand, it gives metaphorical meanings to the word, referring to the spiritual journey of sālik. In this sense, the caravan has passed is a powerful metaphor (majāz) that warns people to make the best use of the rest of their life, or rather the moment they are in, and it looks like a formula of a series of advice that warns them. The advice in question is closely related to the words die before you die and time is a sharp sword, often used by the leading figures of religion and mysticism. Therefore, the caravan has passed is a kind of contemplation and presents a vivid picture of the journey that takes its source from the social life so that the traveler does not forget that he is on the way by reminding him of death. The advice style is generally dominant in the poems in which the metaphor (majāz) of the caravan is used, especially in the poems describing the caravan’s passing and the heedless traveler staying on the road. However, it is obvious that the subject is presented in a lyrical and impressive style, especially in poets such as Aḥmed Yesevī, Yūnus Emre (d. 720/1320 [?]) and Niyāzī-i Mıṣrī (d. 1105/1694). (shrink)

“Any writer worth his salt knows that what cannot be spoken is ultimately the thing worth speaking about; yet most often this humbling awareness is unsaid or covered up. There are some who have made it their business, however, to court failure and acknowledge defeat, to explore the impasse of words before silence. William Franke has created an anthology of such explorations, undertaken in poetry and prose, that stretches from Plato to the present. Whether the subject of discourse is (...) All or Nothing does not matter: the struggle of speech to name the unnameable is the same. This ambitious two-volume undertaking demonstrates a preoccupation as old as Western civilization itself: the limits of language and the virtue of being at a loss for words. How long we have been raiding the Inarticulate!” —Peter S. Hawkins, Boston University “Developments in critical theory during the past two decades have led to renewed interest in negative theology. Books like _Languages of the Unsayable_, _Negation and Theology_, _Derrida and Negative Theology _, and _The Otherness of God _ have signaled the resurgence of this ancient tradition. William Franke’s distinctive contribution is to provide the background and texts from which these recent developments have emerged.” —Mark Taylor, Williams College Apophasis has become a major topic in the humanities, particularly in philosophy, religion, and literature. This monumental two-volume anthology gathers together most of the important historical works on apophaticism and illustrates the diverse trajectories of apophatic discourse in ancient, modern, and postmodern times. William Franke provides a major introductory essay on apophaticism at the beginning of each volume, and shorter introductions to each anthology selection. The first volume, _Classic Formulations_, offers excerpts from Plato, Plotinus, Damascius, the Bible, Gregory of Nyssa, Augustine, Pseudo-Dionysius, Maimonides, Rumi, Thomas Aquinas, Marguerite Porete, Dante, Teresa of Ávila, John of the Cross, and more. (shrink)

Pindar's victory songs teem with divinity. By exploring them within the lived religious landscapes of the fifth century BCE, Hanne Eisenfeld demonstrates that they are in fact engaged in theological work. Focusing on a set of mythical figures whose identities blur the boundaries between mortality and immortality, she newly interprets the value of immortality in the epinician corpus. Pindar's depiction of these figures responds to and shapes contemporary religious experience and revalues mortality as a prerequisite for the glory found in (...) victory. The book combines close reading and philological analysis with religious historical approaches to Pindar's songs and his world. It highlights the inextricability of Greek literature and Greek religion, and models a novel approach to Greek lyric poetry at the intersection of these fields. (shrink)

This 1957 lecture is the tenth in the Eddington Memorial series which “deal with some aspect of contemporary scientific thought considered in its bearing on the philosophy of religion or on ethics.” Poetry would seem to be the outsider here. But Professor Wood shares a contemporary concern over “the growing divergence between the young scientific culture and the traditional literary culture”, and insists that the University must hold to its function of enlarging the intellectual imagination and so must (...) keep poet and scientist on intelligible speaking terms. Commendably enough he himself tries to draw them together under the flag of a particular quotation—Shakespeare’s. (shrink)