Touch, Transcendence and Immanence in Film

TAKING OFF THE GLOVES: TOUCH, TRANSCENDENCE AND IMMANENCE IN FILM Beginning with excessive acts of both violence and compassion, as depicted in Martin Scorsese's Bring out the Dead (1999, USA), I attempt to sketch the play between transcendence and immanence in film. In particular, I am interested in Paul Schrader's philosophical discussion of "transcendental style", as well as his film work, and in the work of Scorsese, Yasujiro Ozu, and Gilles Deleuze concerning the film relations between transcendence and immanence. In the process I hope to foreground the role of touch in film and begin to question an aesthetic syntax in film and in philosophy. In a way the moment of bashing and compassion in Bringing Out the Dead that I shall begin with crystallises a history of ambiguity and anxiety surrounding issues of touch, immanence and transcendence. I shall try and tease out only a few moments in..

Law for the Common Man: An Individual-Level Theory of Values, Expanded Rationality, and the Law

This article makes an admittedly bold attempt at outlining an analytical framework for addressing this question. Instead of looking at the legal implications of bounded rationality -- an exercise highly worthy in its own right -- this article advances a theory of expanded rationality. This theory retains the element of rationality in that people respond to incentives in an attempt to attain utility, and it does not question the observation that decision-making is often bounded due to various factors

Transcendence and interiority in architecture : a study of Hagia Sofia, 532-537

The late historian Robin Evans, takes up the debate symbolised between Wblfflin, proposing that meaning is directly accessible through the form of a building, and Wittkower, arguing that meaning lies behind the form of architecture, in other texts and ideas. The focus of their argument is the centralised church of the Renaissance, which holds a special place in the history of architecture for all three historians. Evans\u27 argument makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. He concludes that architecture, in its singular artistic physicality &quot;suspends our disbelief in the ideal&quot;, offering a world that does not reflect culture, in all its fullness, but rather supplements culture\u27s incompleteness. Architecture, like art is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order. Does architecture aspire towards transcendence, if so, what is transcendental value in architecture? In this essay I want to turn to Hagia Sofia (Istanbul, 532-537), a church that marks the beginning of a Christian empire relocated to the East of Rome, in Constantinople, built one thousand years before the Renaissance churches; and a building that symbolises the shift towards a domed centralised form, away from a basilica form. Hagia Sofia is an architecture, observed and described in an almost devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. What role does Hagia Sofia play in the kind of artistic mastery that Evans is proposing?<br /

Phenomenology, theology and psychosis: Towards compassion

The article argues for a phenomenological and theological perspective of psychosis. It draws especially upon Levinas’ philosophy as a way of looking at psychosis and responding with compassion. It aims to show that the world of psychosis parallels the Levinas’ negative characterisation of both ontology and the categories of objectivity, presence and Being. This suggests that the language of ontology itself holds insights into the experience of psychosis and perhaps further that the language of alterity (otherness) could be a possible response to it. Psychosis should not be understood as a ‘psychological problem’, but rather as an altered state of existence dominated by idolisation, ethical escapism, and terrifying and enthralling transcendence. Fear, horror, confusion with the good and the impossibility of death are the dominant emotions and experiences. As a result, the self, consumed by the idol of fear, must not only seek out and deceive the good, but transcend the possibility of death and thus ever deny its reality in life. If the word of God is to be heard in the face of an Other with psychosis, then there must be a compassionate response that might even one day take the form of friendship and solidarity. Like Christ entering into the depths of loneliness on Holy Saturday, so too we are called to enter into a space and time to bring both life and death together, a reality in which the Other’s fear of death and grief might be encountered and transformed into an existence of hope and grace

On Sculpting Ivory; The Idea of Nature In a Theology of Culture

In this essay, the author seeks to understand the way in which a theology of culture can develop an understanding of nature. He begins by giving a definition for a theology of culture, using the work of Paul Tillich. It is in defining, next, what is meant by nature that many of the peculiarities and problems within this subject are discovered. Finally, it is only by looking at the notion of historicality that he finds the answer to the question

On Sculpting Ivory; The Idea of Nature In a Theology of Culture

In this essay, the author seeks to understand the way in which a theology of culture can develop an understanding of nature. He begins by giving a definition for a theology of culture, using the work of Paul Tillich. It is in defining, next, what is meant by nature that many of the peculiarities and problems within this subject are discovered. Finally, it is only by looking at the notion of historicality that he finds the answer to the question

The Triune Drama of the Resurrection Levinas\u27 Non-Phenomenology

The article aims to develop the philosophy of Emmanuel Levinas as a valuable new perspective in understanding the triune drama of the Resurrection. Firstly, the juxtaposition of Levinas’ thought and Christian theology will be argued for, followed by a development of von Balthasar’s Trinitarian theology of the Resurrection. Especially, Levinas’ non-phenomenological notion of “otherness” will be used to offer an understanding of the Risen Christ’s “Otherness” as communicating the non-phenomenality of Holy Saturday to the disciples. As a result, we discover significant theological openings towards a vision of a Biblical God free from the constraints of ontological thinking and phenomenal experience