An ancient and enduring cross-cultural mythology explores what the texts generally perceive as a paradox: the birth of white offspring to black parents, or black offspring to white parents. This mythology in the Hebrew Bible is limited to animal husbandry, but in Indian literature from the third century B.C.E. and Greek and Hebrew literature from the third or fourth century C.E. it was transferred to stories about human beings. These stories originally express a fascination with the dark skin of (...) “Ethiopians” , and a fantasy of white children born to them. But when ideas about human race arise in Europe after the sixteenth century, the stories reverse their color schemes and shift their emphasis to investigations of the paradox of black children born to white parents. In our day, racism is clearly a strong factor in the media fascination with court cases about in vitro fertilization in which black children are born to white parents. This development suggests that the symbolism of black and white was not originally, nor need be now, racist, but that, once racism is current, it is hard to reclaim the nonjudgmental innocence of the earlier texts. Many of these texts explained the paradox of children who differ from their parents in color by invoking the concept of parental impression , which argues that whatever a woman thinks of or sees at the moment of conception influences the physical form of the child. This doctrine, which was known in ancient Israel, in Greece, in ancient India, and in Europe well into the twentieth century, primarily addresses an entirely different obsession—the problem of paternal insecurity—and generally draws heavily on sexist and misogynist attitudes toward women. Yet, when it was appropriated into the narratives of off-color offspring, it offered, in place of the more obvious explanation , an alternative fantasy that softened the culpability of women. So, too, when applied to stories of color-contrasting offspring in European narratives, even after the sixteenth century,the idea of parental impression functioned as a force against racism ; the Lamarckian or Lysenkan idea of the inheritance of acquired characteristics—the privileging of nurture over nature—argues against the belief that one’s racial stock determines who one is. Thus this doctrine, farfetched as it seems to us , dulled the edge of ancient antagonism toward women and modern European antagonism toward the descendants of the “Ethiopians.” A study of the variations of this myth across cultures has much to tell us about the ways in which myths about women and myths about people of dark skin color are transformed under the pressure of later tropes of sexism and racism. (shrink)

Jordan Peterson is a darling among conservatives and religious people alike. In defending religious belief as the only bulwark against a return to the dark ages, it becomes obvious that Peterson himself doesn't believe in what he preaches. People, he insists, should believe in the archetypal symbolism that is only revealed through a close reading of the Bible. If atheists would only read scripture with more sophistication they wouldn't so embarrassingly reject religion, and simultaneously threaten the very foundations (...) of Western Civilization. It turns out that it's Peterson who comprehensively ignores symbolism. A simple Sunday school lesson shows this. (shrink)

Light and darkness were central motives in the Bible and in the Platonic tradition . First and foremost light was the essential element and the basic principle of existence and cognition in the philosophy of Pseudo-Dionysius Aeropagite. His metaphysics of light contained imagery that inspired builders of French cathedrals and provided Christian thought with rich presuppositions and themes. Th e main purpose of the article is to highlight the Gnostic aspect of the refl ection on light in the writings (...) of Pseudo-Dionysius. Th e author of the Divine names speaks of light in a fi gurative sense and compares its physical properties to the process of transmission of knowledge. He uses the term “light” to describe the actualizing powers of God or God’s sovereignty over the world that he identifi es with goodness. Th is goodness is also described as “supersubstantial light” which as a transcendent Unity permits divine intellects to partake of the supreme knowledge about themselves. Th us light is shown as essential to the transmission of knowledge. It constitutes the process of enlightenment and supports the hierarchical process of transmissionof knowledge. Assuming that this is a correct reading of Pseudo-Dionysius Aeropagite theauthors conclude that contrary to the predominant interpretation his philosophy Pseudo-Dionysius did not describe emanations of beings but transmission of knowledge. Which in turn indicates that he developed his theory as a part of Christian philosophy rather than neoplatonic thought. (shrink)

In his The Symbolism of Evil Ricœur explores the dynamics of human consciousness of evil in different cultures and times. Consciousness of evil is examined by looking at the different prevailing symbols wherein human beings confess their experience with evil. Although appeared in 1960, this study is still cited in recent publications in psychology, cultural anthropology and religion. In this article I describe the context of The Symbolism of Evil as the last part of Ricœur’s study of the (...) will and give a summary of its relevant content. (shrink)

Despite the way we think of saints as belonging to a certain historical period and confronting specific historical obstacles, we tend to see their acts as being universally meaningful, and therefore, that these acts are practices which should be imitated in some manner. However this understanding carries with it a significant difficulty: namely, there is a risk of interpreting the lives and actions of saints as providing rules of conduct to be followed, as if their enactment was an end in-itself. (...) In other words, a simplistic notion of imitation can lead to the problem of voluntarism, where the intention to imitate an action is viewed to be sufficient or equal to actualizing goodness or piety. But there is a further, perhaps more significant problem with this understanding, and this involves how we tend to conflate the performance (or doing) of actions with their meaning. Does an action, especially that of a saint, have a meaning that is identical to its effect? Or, does the action itself produce a sense of meaning that outruns its effect? If the answer to this last question is affirmative, then the actions of a saint can be said to predicate an emergent meaning, that is, a meaning that has not yet been articulated, let alone realized. A saint would therefore be less a figure of convention and more a figure of innovation. In this chapter, I employ Paul Ricoeur’s theory of symbol to show how, beyond the historical specificity of the lives of saints, their actions can be understood to offer new ways of understanding the possibility for being, which I will unapologetically link to the Christian notion of “the New Being.” My discussion will first include a summary of Ricoeur’s theory of symbol, turning next to an application of this theory to saints and the contrasting context of the Prophet in the Hebrew Bible. The chapter will conclude with an elaboration of a symbolic understanding of action in relation to the New Being. (shrink)

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the (...) contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications, and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture. (shrink)

A companion volume to the earlier Symbols and Values. The essays concern themselves with symbolism in the Bible, in literature and in the fine arts, and with its usefulness in science, philosophy and politics. --L. H.

The main conclusion of Nigel Hiscock's important but ill‐arranged book is that the ground plans of abbeys and cathedrals of the tenth and eleventh centuries incorporate Platonic wisdom—hence the “wise” in the title catchwords, which come from Paul's first letter to the Corinthians . There Paul likens himself to a sapiens architectus who lays the foundations on which others erect the building. In three of the four translations in The Complete Parallel Bible, however, Paul does not declare himself wise (...) but, rather, “skilled” or “trained.” The discrepancy makes an emblem for Hiscock's investigation: Did the architects deliberately express geometrical ratios significant in Platonic philosophy in their designs or did they proceed by applying their practical skill and training to the lie of the land and the resources available? A subsidiary question is also symbolized in Paul's verse: Was the designer a wise cleric who set the proportions and left the heavy work to someone else?Hiscock builds his answers in two ways. For one, he delivers a chrestomathy of Platonic snippets known in the tenth century and a few telling quotations from wise clerics—the latter concern the expression of significant numbers in the church fabric: a baptistery is octagonal because of an association between creation and the number eight, and a church with a half‐dozen altars is complete because of the perfection of the number six. But, Hiscock emphasizes, numerology does not account for floor plans, and to test the wisdom of the designers he scrutinizes plans of two dozen churches, especially those associated with monastic reformers. He expresses his results in color‐coded lines superposed on the plans, some one hundred of which comprise a valuable appendix.An example will indicate the interest of the findings and the riskiness of the business. The crossing of the transept at St. Michael's Abbey, Hildesheim, makes a square ABCD, proceeding clockwise from A in the northeast corner. AD and BC prolonged give the line of nave piers, AB and DC prolonged that of the arms of the transept. Lines drawn from B at angles of 54° and 60° with BC cut CD extended in E and F, respectively, locating the end piers in the side aisles. Now 60°, as the invariable angle of a three‐sided figure all of whose parts are equal, carries a cornucopia of Platonic and Christian symbolism. Also 54°, because derivable from a pentagon, has the pregnant significance of the figure five, which is the sum of the first male and first female numbers. Repetition of the transept square fixes the nave piers. Then lines between piers, pillars, and pilasters make the special angles with the north‐south and east‐west lines of the grid all over the plan.How much of this construction is mere coincidence? Requiring the intervals between piers in the same line to be equal, we have DE = FE = FD/2. And so it is: / = 0.51. Otherwise put, if angle FBC is 60° and E divides FD equally, angle EBC must be 54° without reference to a pentagon. Against such arguments, Hiscock observes that his analysis has uncovered previously unknown relations between churches confirmed by documents and that his technique, when applied to large nineteenth‐century buildings with repeated bays such as the Crystal Palace, picks out relatively few structurally significant elements.Hiscock is senior lecturer on the design, theory, and history of architecture at Oxford Brookes University and a master craftsman. His scrupulously prepared color‐coded drawings contain much of interest and pleasure for a geometer. Has he definitively answered the old vexed question whether the sapiens architectus intended to express ancient wisdom in his plans? If the architect thus proposed, did his builder faithfully dispose? Paul again may give guidance. “The Lord knows the thoughts of the wise, that they are futile”. (shrink)

This study casts light on how the issue of childlessness is portrayed in the Bible. The discussion begins with a commentary on Michal’s story, which provides the foundation for further reflection on how childlessness was dealt with in the biblical world, especially in the situations where no miraculous divine solutions were provided. Several humanly devised solutions, acceptable and practiced in the ancient world are presented. The last part of the paper focuses on the more eschatological view of human existence (...) provided in the New Testament, showing that childlessness is a form of suffering included in the promise of redemption brought about by the inauguration of God’s kingdom. As such the response of the redeemed community is to be characterized by love and compassion. (shrink)

This article examines the symbolism contained in the works of Jianzhi art. As a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. Jianzhi can represent the spiritual worldview of a certain era in the region. Among the symbolic images, images of animals, plants, figures, objects, hieroglyphs and patterns were studied. Jianzhi's works of art are combinations of various patterns, shapes and (...) motifs that contain deep symbolism. The study of images and symbolic meanings will expand knowledge about the culture and customs of the region, as well as create opportunities for the preservation of this unique art form containing the intangible cultural heritage of China. The article concludes about the uniqueness of the stylistics and symbolism of this art direction in the described region. It is claimed that Jianzhi's works reflect the culture, customs and peculiarities of the Jinzhou district society. From the point of view of intangible cultural heritage, the art of paper cutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people. It is concluded that it is necessary to preserve this kind of art and the subsequent study of its symbolism in order to preserve the intangible national heritage of China. (shrink)

In the Gospels, Jesus points to children as pattern and paradigm of God's reign. Challenged by Jesus' counter-cultural affirmation of the child, Christian communities are called to vigorous and insistent advocacy for children in our own time.

The character of the current controversy over geneticallymodified (GM) agriculture, typified by protesters' use of emotivesymbolism, has been largely inspired by the Green movement'snon-governmental organizations and political parties. This articleexplores the deeper philosophical and spiritual motivations of the Greenmovement, to inquire why it is implacably opposed to GM agriculture. TheGreen movement's anti-capitalism, exemplified by the hate-symbol statusof Monsanto as the company pioneering GM crops, is viewed within thewider context of alienation in the modern era. A complex of meanings isseen in (...) Frankenstein as the focal symbol of GM protests, includingperceptions of risk, fears of the remixing of living identities seen ingenetic engineering, and resentment at the spiritual nihilism of thereduction of life to the digital code of DNA. By contrast, RobertGoodin's Green Theory of Value, which postulates the deep psychologicalimportance of nature in locating the self in a meaningful context largerthan ourselves, can explain the power of the Green symbol of thethreatened environment, Gaia. The advent of GM agriculture seems toimply that capitalism and technology can now enframe nature itself,leaving a world devoid of natural myth or meaning, with no escape fromthe alienation and nihilism of modernity. The central question posed forprotagonists of the GM debate is whether their agenda is based on thesepowerful but mythical conceptions of the environment, or whetherpreservation of the real environment is their primary ethic. (shrink)

This critical reading/dialogue follows a straightforward structure. Firstly, it presents some of the major insights in J.D. Crossan’s book, attending to its inner logic on his critique on the violence which little by little creeps into the biblical texts. Secondly, it engages in a critique of his reading of Revelation, which is Crossan’s starting point for his discussion on violence. He observes here a direct contradiction with the Jesus of history, centre of interpretation for Scripture. This article points to certain (...) lacunae in his reading of Revelation and, finally, moves to a conclusion offering new ways to interpret and question Revelation’s violent imagery within its own literary context.Contribution: This article is a critical dialogue with one of J.D. Crossan’s latest books: How to Read the Bible and Still Be a Christian: Struggling with Divine Violence From Genesis Through Revelation. This is a vibrant and insightful book about how violence ultimately crept into the canonical texts, tainting even its ‘good news’. Crossan’s concern with this crude violence surfaces as he teaches different groups and he is asked why the Bible ends in Revelation on such a violent note, essentially with ‘a war to end all wars’, somehow buttressing the ‘myth of redemptive violence’. The special focus of this article resides thus on a nuanced reading of Revelation which tries to understand, in context, the function of such violent images. (shrink)

The present study aims to carry out an analysis of the relation between the Bibles of Samuil Micu and Andrei Șaguna from an isagogic perspective, with a particular focus on the canon and canonicity of the books of the Holy Scripture. We believe that, through such an analysis, we can observe what they have in common, but also what differentiates the two Transylvanian editions of the Holy Scripture so that we can help those interested in understanding the reasons behind the (...) current controversies as to the relation between them. Although these controversies refer to the biblical text of the two Scriptural editions, the fact that the attitude towards it was caused by denominational factors, whose doctrinal background is represented by two different traditions of understanding the biblical canon, has been overlooked. This is why we find that the evaluation of how the two Romanian editions of the Holy Scripture (the Bible of Samuil Micu, 1795, and the Bible of Andrei Șaguna, 1856-1858) relate to the canonical tradition of each Church and cultivate their isagogics is fundamental for the establishment and understanding of the relation between them. (shrink)

This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the Lawrence Berkeley Laboratory, respond to experiments in nuclear chemistry. They mark the beginning of three productive decades in which Rapoport produced a variety of images related to chemistry in her work. She states, “I looked for authentic research projects that (...) were interesting to me, preferably with captivating pictorial subject matter. Then came the creative chaotic process of resolving a cohesive product that combined scientific research with art concept.” Rapoport had an unusual degree of access to scientific materials through her husband, organic chemist Henry Rapoport, a faculty member at the University of California, Berkeley. At the time of production, these works were outside mainstream art world interests and they have received little critical attention. This paper examines the development of Rapoport’s images and places her use of chemical references in context in her lifetime of work. (shrink)

This review covers experimental approaches to sound-symbolism—from infants to adults, and from Sapir’s foundational studies to twenty-first century product naming. It synthesizes recent behavioral, developmental, and neuroimaging work into a systematic overview of the cross-modal correspondences that underpin iconic links between form and meaning. It also identifies open questions and opportunities, showing how the future course of experimental iconicity research can benefit from an integrated interdisciplinary perspective. Combining insights from psychology and neuroscience with evidence from natural languages provides us (...) with opportunities for the experimental investigation of the role of sound-symbolism in language learning, language processing, and communication. The review finishes by describing how hypothesis-testing and model-building will help contribute to a cumulative science of sound-symbolism in human language. (shrink)

Statistical analysis has been a common method for determining progress in missional activity. In the case of Bible translation, measurable statistics have been readily available showing progress. However, there have been gaps such as biblical, sociological, theological and missiological factors. The aim of this study is to consider broader factors than just quantifiable measurements that could be used to develop a missiological foundation for missional progress, especially for Bible translation. The setting was to analyse inputs from leaders within (...) the Bible translation movement in terms of their understanding of the factors to be considered for a missiology of progress. Using a qualitative study based upon a questionnaire, the researcher grouped the responses by common categories and then analysed the key findings. The qualitative nature of how Bible translation was conducted reveals important factors such as signs of increased collaboration between Bible translation agencies, improved quality of relationships between Bible translation agencies and the local church, and also theologically significant milestones. The study concludes that progress in the Bible translation movement has to be considered within the broader context of God’s mission. Church history has revealed how progress in one era could be regress in another era. Consequently, reflecting and learning together within the Bible translation movement has been a key to progress, and therefore, all participants in the Bible translation movement have been called to work and learn together. (shrink)

All of Charles Thomas Taylor's previous writings have attempted to reveal the universal rational foundation that undergirds all of the various ethical, political, and economic systems that best nurture human existence. With a latent recognition that the presence of symbolism in other areas of human concern, such as in religion or the fine arts, essentially communicates ethical value, Taylor presents his new book to consider the current relevance or irrelevance of religion and art for the ethical life.

In this first original collection of essays on Catholic Biblical Ethics ever done in English, renowned Jesuit moral theologian James Keenan brings together distinct voices from numerous cultures and language groups. The result is a volume representing a truly global community of Catholic ethics scholars. The Bible and Catholic Theological Ethics deepens contemporary understandings of the relationship between the Holy Bible and the world of Catholic ethical reflection. Like the four other books in the prestigious CTEWC Series, this (...) volume aims at offering a more systematic, comprehensive, and global perspective than typical Anglo-centric or North American-focused offerings. (shrink)

This book gives an introduction to the various theological perspectives regarding revelation. It includes a survey of the views of liberal, evangelical, Calvinist, and Charismatic theologians. The author presents his succinct view in the last chapter.

Jesus' healing, preaching, and death are not about abstractions like “patriarchal system,” but seek to establish new patterns of personal relationship and human solidarity among all women and men, bringing liberation and healing even to those at the margins of society.

Iconicity is a fundamental property of spoken and signed languages. However, quantitative analysis of sound-meaning association in Chinese has not been extensively developed, and little is known about the impact of sound symbolism in children’s literature. As sound symbolism is supposed to be a universal cognitive phenomenon, this research seeks to investigate whether iconic structures of Mandarin are embodied in native Chinese speakers’ language experience. The paper describes a case study of Chinese storybooks with the goal of testing (...) whether phonosemantic association is prominent between name sounds and character features. A quantitative method was used to investigate the distribution of different phonological units in character denomination depending on their physical and emotional traits. The results show that phonemes and syllable combination patterns are closely related to perceivable character features. By comparing schematic mapping in Chinese with other languages, the study illuminates a cross-linguistic tendency in addition to a Chinese-specific iconic relation between sound and meaning. (shrink)