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12 pages, 1590 KB  
Article
Philoctete’s Wound: Black Caribbean Religious Art and the (Re)presentation of a Catholic Mysticism
by Nathaniel Samuel
Religions 2025, 16(10), 1279; https://doi.org/10.3390/rel16101279 - 8 Oct 2025
Viewed by 911
Abstract
This essay expands the canon of sources for liberative theologies by examining the artwork of leading Caribbean muralist Sir Dunstan St. Omer. In conjunction with his close friend—Nobel Laureate Sir Derek Walcott—St. Omer pioneered a form of artistic expression which he used to [...] Read more.
This essay expands the canon of sources for liberative theologies by examining the artwork of leading Caribbean muralist Sir Dunstan St. Omer. In conjunction with his close friend—Nobel Laureate Sir Derek Walcott—St. Omer pioneered a form of artistic expression which he used to great and imaginative effect as counter-narrative to dehumanizing colonial myth. The essay presents two of the artist’s best-known murals, discusses their significance in the arc of Caribbean religiosity, and extrapolates critical insight for a contemporary Black Catholic mysticism. Full article
(This article belongs to the Special Issue Global Catholicism)
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10 pages, 222 KB  
Essay
The Beginning of the Poem: The Epigraph
by Lucy Van
Philosophies 2024, 9(4), 121; https://doi.org/10.3390/philosophies9040121 - 11 Aug 2024
Viewed by 2446
Abstract
Theoretically, a poem can begin in any way. What does it mean that in practice, poems often begin in a particular way—that is, by returning to a fragment of some prior thing? We see this in the encore of John Milton’s opening to [...] Read more.
Theoretically, a poem can begin in any way. What does it mean that in practice, poems often begin in a particular way—that is, by returning to a fragment of some prior thing? We see this in the encore of John Milton’s opening to Lycidas (‘Yet once more, O ye laurels, and once more’); differently, we see this in the widely used convention of the poetic epigraph (for instance, T. S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ begins with six lines from Dante’s Inferno). While there is an established model for understanding the beginning as an act that invokes poetic precedent, this paper seeks to expose the beginning’s logic of return to a broader sense of language that is beyond the remit of poetic tradition as such. With a focus on the epigraph, this paper thinks about the everyday existence of poems and about how this existence relates to ordinary language, asking, how do these different modes of language function together? How does ordinary language collude in the creation of poetry? In its enactment of the passage of language from one mode of existence to another, the beginning of a poem might offer some answers to these questions. Full article
(This article belongs to the Special Issue Poetry and (the Philosophy of) Ordinary Language)
16 pages, 5451 KB  
Essay
Artistic Responses to Crossing the Kālā Pānī
by Grace Aneiza Ali
Arts 2023, 12(1), 30; https://doi.org/10.3390/arts12010030 - 13 Feb 2023
Cited by 1 | Viewed by 3284
Abstract
Between 1838 and 1917, a British system of indentured servitude replaced the enslavement of African peoples with Indian labor in the Americas and the Caribbean. Almost a quarter of a million indentured Indian laborers came to British Guiana and would form the foundation [...] Read more.
Between 1838 and 1917, a British system of indentured servitude replaced the enslavement of African peoples with Indian labor in the Americas and the Caribbean. Almost a quarter of a million indentured Indian laborers came to British Guiana and would form the foundation of the majority of the Indian population in present-day Guyana. These men and women would spend nearly eight decades toiling on sugar plantations and rice fields before the brutal system of labor was abolished. This curatorial essay explores the work of three key contemporary artists of Guyanese heritage—Maya Mackrandilal, Michael Lam, and Suchitra Mattai—who underscore St. Vincent-born poet Derek Walcott’s seminal words “the sea is history” with an exploration of the sea as a weapon of rupture. Collectively, their artworks return us to a British past to offer a visceral reminder of the perilous kālā pānī crossing [Hindi for “black waters”], marking the sea the place where ancestral histories, trauma, and survival all share space. Grounding us in the present and pointing us to a future, I illustrate how these artworks also function as contemporary tools of remembrance and repair. Full article
(This article belongs to the Special Issue Rethinking Contemporary Latin American Art)
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12 pages, 229 KB  
Article
What Else Is New?: Toward a Postcolonial Christian Theology for the Anthropocene
by George B. Handley
Religions 2020, 11(5), 225; https://doi.org/10.3390/rel11050225 - 1 May 2020
Cited by 5 | Viewed by 3495
Abstract
Although there are many reasons for Christian skepticism regarding climate change, one reason is theological in nature, and therefore, requires a theological solution. This essay explains the theological grounds for climate change denial and for a compromised understanding of the power and creativity [...] Read more.
Although there are many reasons for Christian skepticism regarding climate change, one reason is theological in nature, and therefore, requires a theological solution. This essay explains the theological grounds for climate change denial and for a compromised understanding of the power and creativity of human agency. Drawing inspiration from the ecotheological implications of postcolonial poetics, it seeks to offer revised conceptions of the atonement and the fall and of what it means to read both scripture and nature. The aim is to offer a more resilient Christian theology that can inspire agential creativity in the age of the Anthropocene. Full article
(This article belongs to the Special Issue Faith after the Anthropocene)
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