Many writers have paid tribute to its power: Shakespeare urged his audiences to use it to create a setting; Hobbes asserted that "imagination and memory are but one thing; " for Wordsworth it was "the mightiest leveler known to moral world; " and to Baudelaire it represented "the queen of truth. " Imagination as artistic, poetic, and cultural predicate remains one of the most influential ideas in the history of Western thought. It has been simultaneously feared as a dangerous, uncontrollable (...) force, and revered as the supreme visionary power. The questions of its origins, nature, function, and effects have absorbed writers, theologians, and philosophers alike. J. M. Cocking's Imagination shows how these questions have recurred, through the ages and in various cultures. Exploring this theme, from antiquity to the Renaissance, it opens with a discussion of the treatment of imagination in the writings of Aristotle and Plato. Tracing its development in the Middle Ages, Cocking pays particular attention to the parallel tradition in Islamic thought of the period. The book pursues the concept through the theories of Dante and the neo-Platonists, concluding with the High Renaissance. (shrink)

For half a century, J. I. Packer's classic has helped Christians everywhere discover the wonder, glory, and joy of knowing God. This fiftieth anniversary edition of a thought-provoking work seeks to renew and enrich our understanding of God, bringing together knowing about God and knowing God through a close relationship with Jesus Christ.

In this provocative work, J. L. Schellenberg addresses those who, influenced by science, take a negative view of religion, thinking of it as outmoded if not decadent. He promotes the view that transcendently oriented religion is developmentally immature, showing the consilience of scientific thinking about deep time with his view. From this unique perspective, he responds to a number of influential cultural factors commonly thought to spell ill for religion, showing the changes – changes favorable to religion – that are (...) now called for in how we understand them and their proper impact. Finally, he provides a defense for a new and attractive religious humanism that benefits from, rather than being hindered by, religious immaturity. In Schellenberg's view, religion can and should become a human project as monumental as science. (shrink)

L'eschatologie a marqué la théologie chrétienne du XXe siècle. Initiateur en ce domaine, R. Bultmann entreprend une herméneutique « existentiale » et « démythologisante » de la prédication apocalyptique de Jésus, mise en lumière par J. Weiss et A. Schweitzer : en Jésus Dieu prononce la parole définitive qui m'appelle aujourd'hui à la décision de foi et à l'existence authentique. La théologie apprend ainsi à parler de Dieu avec sens en parlant de l'homme. Avec J. Moltmann, le futur est désenclavé (...) du présent où le laissait Bultmann, et l'eschatologie se fait résolument christologique en même temps qu'historique ; mais le passage de la Théologie de l’espérance au Dieu crucifié pose le problème redoutable du lien entre l’horizon de l’espérance et l'histoire abandonnée à la souffrance. Pour J. Moingt, la résurrection, fondement de la christologie, permet de relire la vie de Jésus comme l’histoire de Dieu menant avec les hommes depuis la création le combat eschatologique de la vie contre la mort.La pensée eschatologique s’élabore aussi dans la ligne des théologiens de l'histoire. O. Cullmann fait du Christ le centre de l’histoire du salut, entre un « déjà là » et un « pas encore ». Avec plus d’ambition mais aussi d’ambiguïté, W. Pannenberg situe la résurrection de Jésus, en tant qu’événement historique, au regard de l'histoire universelle dont elle anticipe la fin. La pensée eschatologique ne laisse pas de travailler également d’autres théologies, davantage marquées par les problématiques traditionnelles.Twentieth century Christian theology has been marked by eschatology. R. Bultmann, initiator in this field, underlook an “existential” and “demythologising” hermeneutic of the apocalyptic preaching of Jesus, which had been brought. to light by J. Weiss and A. Schweitzer : in Jesus God pronounces the definitive word that calls me to a decision of faith and authentic existence today. Theology thus learns to speak of God with meaning by speaking of man. With J. Moltmann, the future is freed from present, where Bultmann had left it, and eschatology became resolutely Christological at the same time as historical. But the passage from the Theology of Hope to the Crucified God poses the difficult problem of the connection between the horizon of hope and history left to suffering. For J. Moingt, the resurrection, foundation of Christology, permits a rereading of the life of Jesus as the history of God, who, from the time of creation, leads humanity in the eschatological combat of life against death.Eschatological thought also develops in the direction of theologies of history. O. Cullmann makes Christ the center of the history of salvation, between an “already here” and a “not yet”. With greater ambition but also ambiguity, W Pannenberg places the resurrection of Jesus as a historical event, in comparison with universal history, of which it anticipates the end. Eschatological thought does not fail to also influence others theologies, more marked by traditional problematics. (shrink)

International array of contributors, bringing together both traditional and more recent approaches to provide valuable insights into the poets’ use of language.Covers authors from Lucilius to Juvenal.Of the peoples of ancient Italy, only the Romans committed newly composed poems to writing, and for 250 years Latin-speakers developed an impressive verse literature.The language had traditional resources of high style, e.g., alliteration, lexical and morphological archaism or grecism, and of course metaphor and word order; and there were also less obvious resources in (...) the technical vocabularies of law, philosophy and medicine.The essays in this volume show how the poets in the classical period combined these elements, and so created a poetic medium that could comprehend satire, invective, erotic elegy, drama, lyric, and the grandest heroic epos. (shrink)

Although the theory of definability had many important antecedents—such as the descriptive set theory initiated by the French semi-intuitionists in the early 1900s—the main ideas were first laid out in precise mathematical terms by Alfred Tarski beginning in 1929. We review here the basic notions of languages, explicit definability, and grammatical complexity, and emphasize common themes in the theories of definability for four important languages underlying, respectively, descriptive set theory, recursive function theory, classical pure logic, and finite-universe logic. We review (...) the history of previous studies of the similarities and differences in the theories of definability of the first three of these four languages. A seminal role leading toward unification of the theories has been played by the separation principles introduced by Nikolai Luzin in 1927. Emphasizing analogies and driving toward further unification embracing finite-universe logic we concentrate on a simple example—the first and second separation principles for existential-universal first-order sentences . Using this as a test case for the fundamental problem of how to “finitize” arguments in classical pure logic to the finite-universe case, we are led to the analogous negative solution by using the theory of certain special graphs: a graph is - special for any positive integers m , n , p , q iff it is bipartite with m red points and n blue points and for every p -tuple of red points there is a blue point to which they are all connected . As an aside we introduce for further study a natural “Ramseyesque” increasing sequence A of positive integers, where A is the least positive integer n for which an -special graph exists. (shrink)

C. A. J. Littlewood approaches Seneca's tragedies as Neronian literature rather than as reworkings of Attic drama, and emphasizes their place in the Roman world and in the Latin literary corpus. The Greek tragic myths are for Seneca mediated by non-dramatic Augustan literature. In literary terms Phaedra's desire, Hippolytus' innocence, and Hercules' ambivalent heroism look back through allusion to Roman elegy, pastoral, and epic respectively. Ethically, the artificiality of Senecan tragedy, the consciousness that its own dramatic worlds, events, and people (...) are literary constructs, responds to the contemporary Stoical dismissal of the public world as mere theatre. (shrink)

The definition of acedia presents unique conceptual problems among the eight Evagrian logismoi. Its descriptions are so complex and varied as to render the concept seemingly incoherent. This article argues that the conceptual unity of acedia has been obscured by the translation of Evagrian logismoi into the ‘deadly sins’ tradition, resulting in a category error. Acedia is more properly understood, not as a psychological state or a sin, but rather as an array of demonic temptations with the unifying end-goal of (...) interrupting the anchoritic ideal of sustained contemplation. (shrink)