Search Results (51)

In Edith Stein’s thinking, there is a gradual transition from the discovery of Christianity in her phenomenological studies to the mystical realization of her own role as a Christian. The present paper explores the historical, cultural, and personal circumstances of Stein’s approach to Christianity and reveals how philosophical insights contributed to her Christian commitment and supported her receptivity to mysticism. My thesis is that Stein’s philosophical reflection and the deepening of her personal religiosity are mutually evolving. The thesis of this paper is based on a letter written by Edith Stein to Roman Ingarden in 1927, at a time when she had not yet entered the Carmelite Order in Cologne but was already living as a monk. In this sense, the letter represents a zigzag reflection between past and present events, describing events in the apocalyptic horizon of eternity. Through recurrent reflection on the letter, I argue for the parallel development of mystical insights and philosophical achievements in Stein’s life, and finally, I show that the two are inextricably linked and contribute to a philosophical understanding of her own holocaust. Full article

The concept of hope has varied in meaning from ancient Greece to the present day. Often understood as an expectation or an illusion, hope seems to greatly determine the way human beings live and think about their existence. It is precisely in this context that the questioning of the Christian faith and particularly eschatology arises. The aim of this article is to analyse the concept of Hope, distinguishing it from concepts such as expectations and hopes, and placing it in the sphere of Christian life and theology. In this context, realities such as immortality, eternity, and death will be explored in order to understand if there is room for a Hope that goes beyond empirical certainty or capricious and illusory desire. Full article

Roman Bordun’s twenty-first century photograph The Apartment After the Artillery Bombardment. Heat resistant Ceramic Vase. Irpin [Ukraine]. June 2022 uses light to express the Christian paradox of suffering that leads to redemption and eternal life for the just. In order to imbue spiritual meaning into a photographic work, Bordun draws from Renaissance artists in his use of technique (chiaroscuro), topic (warfare), and geography (the city) that all reference Christ’s Resurrection. Comparing and contrasting Bordun’s Apartment with Raffaello Sanzio da Urbino’s [Raphael] paint on wood Saint Michael Overwhelming the Demon (c. 1505) demonstrates how Bordun’s photograph can transcend its discrete historical context, merging the factual and the mythic as described by C. S. Lewis. Through his references to Raphael and the masters, Bordun lays claim to a Christian iconography and challenges the political use of religion in waging human warfare. His works all demonstrate contemporary or even quotidian plays on Renaissance works in order to address current political issues. The art of photography and stylistic references to churches’ involvement in politics, as opposed to Christian teachings, critiques Moscow’s “post-truth” justifications of the Ukrainian invasion and war. Full article

The present paper explores contemporary desert father Matta Al-Miskīn’s views on humankind’s union with God within the Paradise–Fall–Salvation schema against the backdrop of his Alexandrian Patristic forebears. He understood humankind’s paradisal perfection as an orientation towards God and access to the divine life. Through the Incarnation, Christ reclaimed humanity’s access to the divine life. Based on Matta’s Commentary on the Gospel of John, this paper shows that the Paradise–Fall–Salvation continuum confirms his assertion that humankind’s union with God is the goal of Creation. The paper also demonstrates that Matta’s vocabulary points to the fundamental difference between being God by nature and being God by adoption, with the latter state to be fully attained in eternity. Full article

The purpose of this paper is twofold: first, to depict, in its main elements, the conception of a Protestant “deconstructive theology”, and, secondly, to present the prophetic aspect of Eastern Christian Orthodox theology in comparison with it. According to the method of “deconstructive theology” as a method, the Scripture must be dismantled in order to be fresh and new. In the Orthodox understanding, the work of theology is understood to be, in the first place, a personal relationship with and experience of God, both from a mystical and sacramental perspective, and, through this, an actualisation of the work and message of God’s Revelation, making it present in the context of each historical and cultural circumstance. As will be presented below, this achievement could be completed only within the Church. Thus, Orthodox theology must deliver the eternal word and life of Jesus Christ, addressed to the contemporary context, in order to guide the Church and the Faithful toward the Kingdom of God. It is hoped that this comparative endeavour may be beneficial for general understanding between Christians, through placing in conversation two different perspectives regarding theology, which seldom encounter one another. Full article

It has been proposed that we are entering the age of postmortalism, where digital immortality is a credible option. The desire to overcome death has occupied humanity for centuries, and even though biological immortality is still impossible, recent technological advances have enabled possible eternal life in the metaverse. In palaeoanthropology and archaeology contexts, we are often driven by our preoccupation with visualising and interacting with ancient populations, with the production of facial depictions of people from the past enabling some interaction. New technologies and their implementation, such as the use of Artificial Intelligence (AI), are profoundly transforming the ways that images, videos, voices, and avatars of digital ancient humans are produced, manipulated, disseminated, and viewed. As facial depiction practitioners, postmortalism crosses challenging ethical territory around consent and representation. Should we create a postmortem avatar of someone from past just because it is technically possible, and what are the implications of this kind of forced immortality? This paper describes the history of the technologically mediated simulation of people, discussing the benefits and flaws of each technological iteration. Recent applications of 4D digital technology and AI to the fields of palaeoanthropological and historical facial depiction are discussed in relation to the technical, aesthetic, and ethical challenges associated with this phenomenon. Full article

This essay presents four different steps that we can follow to establish an analogical connection between the Christian praxis and the Trinitarian immanent life. To illustrate these steps, we have provided a case study of Hans Urs von Balthasar’s treatment of obedience. Obedience is employed analogically to speak of the Trinitarian life of God and of the Christian life, by means of grounding this concept in the personhood of Christ, to be more precise, in his mission. In other words, the Christian obedience becomes a participation in the eternal Trinitarian love between the persons. Balthasar’s treatment of this subject illustrates an example whereby a theory–practice split is overcome with the employment of analogy in systematic theology. Full article

Giovanni Botero’s political thought is significantly influenced by Machiavelli, yet it possesses its own distinctive features, particularly in its religious perspective. In contrast to Machiavelli’s condemnation of Catholicism, Botero argues that Catholicism, far from weakening individuals, could instill in them the courage to defy death and foster military virtues through the promise of eternal life. While Botero agrees with Machiavelli that religion plays a central role in politics, he asserts that Catholicism is more effective than other sects as it is better suited to maintaining social order and disciplining the human conscience. However, he refutes the idea that religion should serve merely as an instrument of domination. Instead, he suggests that it should be the foundation of the state and the purpose of governance. Furthermore, he maintains that religion and the state are interdependent, functioning together to ensure the maintenance and strengthening of both. Full article

Joseph Ratzinger points to the dialogical nature of the human being. Indeed, the human is by nature called to live in relationships, and for him/her social life is a natural environment of existence. This need, which humans discover within themselves, has its source in Communio Trinitatis, the profound communion of the three Divine Persons. In essence, God is not a loner but an eternal dialogue of love. As evidence of this, He created the human being in His image and likeness. The human’s role model lives in a relationship of love. Hence, the individual also discovers a deep need within him/herself for interpersonal communication. In this respect, it is healing for a person to live in a relationship. Firstly, because the dialogue of faith with God is true healing and salvation for the human being. Secondly, relationships with other humans also have an enriching impact on their personality. However, J. Ratzinger stresses that isolation alienates people and even leads to illness or death. Meanwhile, a living relationship with God and other people transforms the human person and ensures personal growth. Full article

Utopian science fiction, as a fusion of science fiction literature and utopian literature, integrates the construction of imagined interactions between people, technology, society, and the environment in future narratives. In doing so, it deepens the aesthetic value and social significance of science fiction literature. Chinese science fiction utopian future narratives use technological imagination to construct three models of expression. First, they re-examine the symbiotic patterns of technology, humanity, and time within the multiple dimensions of human subjectivity. Second, within the transformation of social structures, they reassess the subject and emotions, recognizing that the acceleration of social change has transformed human nostalgia into a series of rehearsals seeking future possibilities in the past. Third, within the dissolution of cultural politics, they reconsider space and the environment, reconstructing planetary existence through a model of deterritorialization. The imagined technological developments constitute the internal logic of Chinese science fiction utopian future narratives, suggesting that the future is an uncertain movement entangled with technology, time, space, and human nature. The confluence of technology, time, and humanity gives rise to people’s expectations and yearnings for eternal life. However, these three modes of narrating the future also lead us to return to Earth as the central theme, highlighting the planetary nature and reflecting on the meaning of existence. Full article

In this article, I explore the significance of the protological and eschatological dimensions of the Trinity, critiquing and building upon the Trinitarian doctrines of Karl Barth and Robert Jenson. The traditional doctrine of the Trinity tends to separate the Triune God’s saving economy, which Barth attempts to reconcile via reclaiming their inseparability in his Church Dogmatics. However, Jenson critiques Barth for continuing to abstract the eternal life of God from God’s act in history and instead proposes an eschatological view of the immanent Trinity as the temporal fulfillment of God’s economic actions. By placing Barth and Jenson in mutual dialogue, I argue for a balanced integration of Barth’s and Jenson’s perspectives, asserting that both the primordial existence and the eschatological fulfillment of the Trinity are critical to understanding the Triune God as the Creator and Redeemer. At the end of the article, I propose a soteriological panentheism that aims to reconcile these dimensions. This scheme highlights the continuous, dynamic interaction between God’s eternal nature and temporal creation. Full article

This article has three main goals: (1) To explain in a clear and comprehensible way the difficult basic-word “I-Thou”, which is the basis of Buber’s concept of dialogue, and in fact is the core of his entire teaching (even though it eventually spread over many fields). My main argument in this article is that “I-Thou” is not the “dialogue” that is often spoken of in the name of Buber (not only on the popular level but also in academic circles, and even commonly among those who deal directly with Buber’s teaching) but, rather, that “I-Thou” is a pointing-toward-word—pointing the way for the one whose heart is willing to direct his life to the path of devotion to God—a life whose practical meaning according to Buber is the effort to make room for the presence of the divine (“Shekhinah”) within the stream of earthly normal life, the flow of physical, instinctive life, the flow of life as they are, within “This-World” as it is. (2) This article attempts to follow the sources in Buber’s writings to clearly explain Buber’s faith (which Buber saw as the core of the movement of Hasidism that preceded him). Who is the God that Buber clings to? Why did Buber try to replace the common appellation “God” with a new term of his own: “The Eternal Thou”? (3) It aims to show how the researchers who tried to present Buber as a social or political thinker and removed from his teaching the centrality of his faith entirely distorted his teaching and displaced from it the core of the foundation on which all of Buber’s teaching rests. Full article

A simple model is built to evaluate quantitatively the individual feeling of the passage of time using a sociophysics approach. Given an objective unit of time like the year, I introduce an individualized mirror-subjective counterpart, which is inversely proportional to the number of objective units of time already experienced by a person. An associated duration of time is then calculated. Past and future individual horizons are also defined together with a subjective speed of time. Furthermore, I rescale the subjective unit of time by activating additional clocks connected to ritualized socializations, which mark and shape the specific times of an individual throughout their life. The model shows that without any ritual socialization, an individual perceives their anticipated life as infinite via a “soft” infinity. The past horizon is also perceived at infinity but with a “hard” infinity. However, the price for the first ritualized socialization is to exit eternity in terms of the anticipated future with the simultaneous reward of experiencing a finite moment of infinity analogous to that related to birth. I then extend the model using a power law of the number of past objective units of time to mitigate the phenomenon of shrinking of time. The findings are sound and recover common feelings about the passage of time over a lifetime. In particular, the fact that time passes more quickly with aging with a concomitant slowing down of the speed of time. Full article

In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage. Full article

Caring for the other is an ethical as well as an aesthetic question: but where does one end and where does the other begin? Rita Charon, in her work Narrative Medicine (2006), builds a strong case against such separation in medical care, or more precisely, against the negligence of what she calls “narrative competence”—defined as the ability to absorb, interpret, and translate stories of others. Charon compares the work of health professionals to that of a skilled translator, who reads not only words but also silences and metaphors. While Charon focuses primarily on developing the concept of care as aesthetic experience for health professionals, Yuriko Saito’s recent publication Aesthetics of Care (2022) draws a parallel between care ethics in general and aesthetic experience. Both, according to Saito, share the same attitudes such as open-mindedness, receptivity, respect, and collaborative spirit. In this paper, I will discuss the concept of care in Belgian film director Chantal Akerman’s later works: My Mother Laughs (2019) and No Home Movie (2015). Through different media—the former being a memoir and the latter a documentary—Akerman cares for her mother and bears witness to the end of her mother’s life. Taking cues from Charon and Saito, I argue that both media are media of care: they are aesthetic means of bearing witness to illness, trauma, love, and care. Especially through filmmaking, Akerman seems to have achieved the impossible: that is, the desire of the daughter not to take her eyes off her dying mother and look at her eternally. Such desire is also expressed in her film aesthetics: the long take inscribes a waiting becoming infinite; it is as if the movie, or the motion picture, is exposed to both a slow death and a passage to eternity. At the same time, unlike Charon and Saito, who position the carer as an ideal reader and viewer, I argue that Akerman as the carer is by no means perfect: her memoir offers a detailed account of her need to keep a distance and hide from her mother, and of her mother’s complaint about Akerman not sharing her life with her. Distance is what Akerman struggles with regarding her relation to her mother, and she struggles with it through writing and filming. In Akerman’s case, the ability to achieve the impossible with aesthetic media lies precisely in mediation and mediality: they enable a relation of care that is close, yet still maintains a safe distance. Full article