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1
Iesus deus: The early Christian depiction of Jesus as a Mediterranean god. Minneapolis: Fortress Press, 2014.
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Anthropomorphic depictions of God: The concept of God in Judaic, Christian and Islamic traditions : representing the unrepresentable. London: International Institute of Islamic Thought, 2012.
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Beḷekara, Suhāsa. Avalokana = Avalokan, collection of articles on some Ex-MLA's of Goa Lagislative Assembly depicting their work in assembly. Tisavāḍī, Govā: Navaraṅga Prakāśana, 2011.
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Wilson, Brittany E. The Embodied God. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190080822.001.0001.
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This book focuses on God’s body in the New Testament. While there are various views in the New Testament regarding God’s body, this work argues that Luke-Acts stands out as an important example of a New Testament text that portrays God as visible and corporeal. According to Luke, God is a visible, concrete being who can take on a variety of different forms, as well as a being who is intimately intertwined with human fleshliness in the form of Jesus. In this way, the God of Israel does not adhere to the incorporeal deity of Platonic philosophy, especially as read through post-Enlightenment eyes. Luke’s portrayal of God instead finds more affinity with Greco-Roman traditions that conceive of the divine in corporeal terms, and above all, with the God found in the pages of Jewish Scripture. Moreover, Luke’s depiction of Jesus as an embodied being has both similarities and dissimilarities with Luke’s depiction of Israel’s God and points ahead to future controversies concerning Jesus’s divinity and humanity in the early church. Indeed, in Luke-Acts and beyond, questions concerning God’s body are intimately intertwined with Christology and shed light on how to understand Jesus’s own visible embodiment in relation to God.
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Mein, Andrew, Claudia V. Camp i Callender Dexter E. Jr. Did the Israelites Believe in Their Myths?: Biblical Indeterminacy and the Depiction of God. Bloomsbury Publishing Plc, 2018.
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Revelation and the Two Witnesses: The Implications for Understanding John's Depiction of the People of God and His Hortatory Intent. Wipf & Stock Publishers, 2011.
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Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk i Rachel Wood. Interpretations. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0006.
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On the mountain of Nemrut Dağı in the kingdom of Commagene, we have a first-century BC stele with a depiction of a king, Antiochus I, grasping the hand of a figure named ‘Apollo-Mithras-Helios-Hermes’. This image, and others from across the kingdom depicting a god named in this way, call upon a variety of iconographic and linguistic traditions that raise questions about the way conceptions of the divine could be selected, rationalized, and propagated. This act of comparing and combining religious traditions, often referred to as ‘syncretism’, allows us to think about what the use of the name Mithra suggests to us beyond the relatively simple transmission of a god. In turn, the discussion of the importance of iconographies and names associated with deities leads us to reflect on the nature of divinity in antiquity more generally.
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Quint, David. Fear of Falling: Icarus, Phaethon, and Lucretius. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691161914.003.0004.
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This chapter demonstrates how—through a complicated chain of intermediary texts—the depiction of Satan's fall through Chaos in book 2, which invokes the myth of Icarus, and the Son's successful ride in the paternal chariot of God at the end of the War in Heaven in book 6, which rewrites the story of Phaethon, both trace back to the De rerum natura of Lucretius. They counter the Roman poet's depiction of an Epicurean cosmos ordered by chance and in a constant state of falling through an infinite void—the “vast vacuity” of Chaos. The myths of these highfliers who fall are further countered in Paradise Lost by the motif of poetic flight. The shaping power of poetry itself and the epic high style counteract the specter of a universe without bound and dimension, or of the shapelessness of Death; poetry raises the poet over his fallen condition.
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Stewart, Jon. Greek Polytheism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198829492.003.0010.
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Under the heading “The Religion of Beauty” Hegel treats the polytheism of ancient Greece. The Greek religion shares with Judaism the idea that the divine is a self-conscious entity, and thus both represent religions of spirit. However, for Judaism, God was an object of thought and not of sense, and for this reason there were no images or representations of Jehovah. By contrast, it is, according to Hegel, one of the fundamental aspects of the Greek gods that they are represented in art. The analysis in Chapter 9 focuses on Hegel’s interpretation of how the Olympian gods arose out of an earlier generation of nature gods. This account is reflected in Greek mythology itself in the depiction of the war of the gods given in Hesiod. For Hegel, this represents clear evidence that the conception of the divine starts with natural deities and moves to gods of spirit.
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Kvanvig, Jonathan L. Depicting Deity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192896452.001.0001.
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A theology aims to explicate what God is like, and a metatheology investigates more fundamental issues concerning how to structure such a project and where it should begin. Approaches that ignore this more fundamental investigation risk presupposing stances that do not withstand scrutiny and perhaps would never have been endorsed if considered directly. In addition, approaches that ignore the issue of fundamentality often switch from one set of assumptions to another without noticing the change in perspective that results, giving rise to a chance of incoherence and to an approach that is theoretically disorderly and thus failing to as systematic and elegant as we would like. This work begins with the more basic question of where to begin thinking about God, where it is best to start the project of theology, in a way that offers some hope of a defensible metatheory, from which a complete theology, displaying the kind of theoretical elegance and structure we find in our best scientific and philosophical theories, can be developed.
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Dearman, J. Andrew. Characters in the Book of Ruth. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190246488.003.0005.
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This chapter explores characters and point of view in the book of Ruth as an example of narrative analysis. Both major (rounded or developed) and minor (flat) characters in the narrative are examined. The depiction of Israel’s God, also a character in the short story, is also briefly discussed. Three pairs of characters play off one another. They are Ruth and Orpah, Ruth and Naomi, Boaz and an unnamed kinsman. The relationships between the characters present aspects of an Israelite community ethos, the positive elements of which are commitment to the health and vitality of the family. The actions of both Boaz and Ruth are described by the Hebrew word hesed, a term for loyalty and kindness that exceeds the requirements of law and custom.
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Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk i Rachel Wood. Reconstructions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0002.
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Chapter 2 discusses two gypsum reliefs from Dura-Europos, a city on the Euphrates in modern Syria, once within the Roman Empire. Not only does Dura provide a rare example of two carved tauroctony reliefs displayed more or less equally in the same mithraeum, but each relief respectively includes a unique depiction of an act of sacrifice. This is particularly visible on the second relief, where the patron, who dedicated it in AD 170/1, chose to include a representation of himself. This invites the viewer to ask questions about the relationship between Mithraic patrons, worshippers, and the god Mithras himself. The chapter extends out from these two images to take in the wider picture of religious life at Dura-Europos, revealing a high level of cultural and artistic exchange between the Mithraic community and the surrounding town.
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Mueller, Janel. The Saints. Redaktorzy James Simpson i Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0010.
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In his authoritative New Testament formulations, St. Paul describes the saints of Christianity as the “beloved of God and the called of Jesus Christ” for their obedience to the faith in him...” Peter Brown, in his account of the Christian communities of the post-apostolic church and later antiquity, states that “the cult of the saints” emerges from beliefs and practices that differ from Paul’s normative definitions. St. Augustine’s transhistorical composition of his two cities inCity of Godretraces Paul’s serial tracking of the saints who are the true members of Christ’s Church. This article examines the depiction of Christian saints in medieval literature in Western Europe, particularly early Christian virgins martyred by pagan oppressors. It looks at the life of John Wyclif, an Oxford scholar and cleric, and his views about the character and validity of the Church and its saints. It also analyzes Michael Walzer’sThe Revolution of the Saintsand his arguments regarding the value of the model of Puritan sainthood in present-day circumstances.
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W, Meijer Diederik J., red. Natural phenomena: Their meaning, depiction, and description in the ancient Near East. Amsterdam, North-Holland: Royal Netherlands Academy of Arts and Sciences, 1992.
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Maxey, I. Parker. Man's ascent to God, or, Climbing Jacob's ladder: (depicting the way to eternal life). Schmul Pub. Co, 1993.
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Vitale, Vince R. Non-Identity Theodicy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864226.001.0001.
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This book develops Non-Identity Theodicy as an original response to the problem of evil. It begins by recognizing that horrendous evils pose distinctive challenges for belief in God. To home in on these challenges, this book constructs an ethical framework for theodicy by sketching four cases of human action where horrendous evils are either caused, permitted, or risked, either for pure benefit (i.e. a benefit that does not avert a still greater harm) or for harm avoidance. This framework is then brought to bear on the project of theodicy. The initial conclusions drawn impugn the dominant structural approach of depicting God as causing or permitting horrors in individual lives for the sake of some merely pure benefit. This approach is insensitive to relevant asymmetries in the justificatory demands made by horrendous and non-horrendous evil and in the justificatory work done by averting harm and bestowing pure benefit. Next this book critiques Fall-based theodicies that depict God as permitting or risking horrors in order to avert greater harm. The second half of this book develops a theodicy that falls outside of the proposed taxonomy. Non-Identity Theodicy suggests that God allows evil because it is a necessary condition of creating individual people whom he desires to love. This approach to theodicy is unique because the justifying good recommended is neither harm-aversion nor pure benefit. It is not a good that betters the lives of individual human persons (for they would not exist otherwise), but it is the individual human persons themselves.
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Kelsay, John. ‘Let God Rise Up!’ The Bible and Notions of Victory in War. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198801825.003.0002.
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This chapter examines biblical notions of victory in war. It begins with the Hebrew Bible, in which the notion of God as a warrior who ‘rises up’ to fight for, and more often with, God’s people is basic. It shows how this idea is interwoven with depictions of God as a commander who sets rules of behaviour—including the resort to and conduct of war, a judge who turns against disobedient nations, and ultimately a redeemer who, in the fullness of time, vindicates his people. It then describes the ways Jews and Christians developed this inheritance in the period between 200 BCE and 200 CE. Finally, it reflects on the import of this material with respect to notions of victory in the just war tradition and in the changing landscape of contemporary conflict.
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Irizarry, Ylce. Narratives of Reclamation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039911.003.0003.
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This chapter evaluates the proliferation of Chicana literature following El Movimiento. This frames the discussion of the narrative of reclamation in the Chicana novel So Far from God (1993) by Ana Castillo as well as in the Dominican American novel Soledad (2001) by Angie Cruz. Both of these novels portray characters finding out whether ritual is effective in reclaiming their identity. By paying special attention to the novels' constructions of femininity, depictions of the abuse of the female body, and reconfigurations of communal and domestic spaces from patriarchal to matriarchal, the chapter delineates the convergences of a text set in the rural Southwest, So Far from God, with a text set in urban Northeast, Soledad.
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Wolterstorff, Nicholas. Liturgical repetition and reenactment. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805380.003.0008.
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It is often said by liturgical theologians that the Eucharist is a reenactment of Christ’s last supper; some go on to identify a number of other liturgical actions as reenactments of episodes in the biblical narratives, and some claim that a liturgical enactment is itself a reenactment. This chapter addresses these claims. It does so by first distinguishing reenactments from repetitions: reenactments are depictions, repetitions are not. Christian liturgical enactments typically contain a good many repetitions of biblical narrations and of episodes from the biblical narratives. The chapter spends some time exploring the point of such repetitions. Then, after looking closely at a clear example of a historical reenactment, it goes on to argue that in present-day Christian liturgies there are very few reenactments. In particular the Eucharist, though it repeats a good deal of what Christ did at his last supper, is not a reenactment of that supper.
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Lippert, Amy K. DeFalco. “These Lofty Aspirants of Fame”: The Making of the Gold Rush Legend. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.003.0002.
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San Francisco constituted the epicenter of the vibrant image production and printing industry that produced visualizations of the gold rush experience for miners and their far-flung audiences around the world. This chapter examines the artist-rendered representations of the gold rush, especially in the form of illustrated letter sheets—the precursors to the modern postcard. Letter sheets, and the notes that miners scrawled on them to the folks at home, stressed the irreplaceability of direct experience through the popular metaphor of “seeing the elephant.” Gold rush illustrations crafted an archetypal (white, male) miner identity and juxtaposed it with depictions of nonwhite groups like the Chinese and California Indians, who were cast as visual exotics.
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Abraham, William J. Symeon the New Theologian. Redaktorzy William J. Abraham i Frederick D. Aquino. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199662241.013.27.
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For Symeon, Christianity is first and foremost a transformative experience of the divine, beginning in this life in response to the Gospel and scripture, mediated in the practices of the church, and brought to a fitting climax in the world to come. The epistemic corollary involves a particular conception of theological discourse, a vision of epistemic failure and struggle, and a grounding of theological claims in transformative perception of the divine as depicted in scripture and in the great dogmas of the canonical faith of the church. His epistemic orientation thus focuses on our epistemic faculties or capacities, their repair through divine action and grace, and their success in securing accurate depictions of the triune God. The chapter concludes with six questions and issues that deserve further investigation.
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Macaulay, Thomas Babington. Lays of Ancient Rome: The Poetry and Songs of the Roman Peoples, Depicting Their Battles, Folk History and Gods. Lulu.com, 2018.
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Adrych, Philippa, Robert Bracey, Dominic Dalglish, Stefanie Lenk i Rachel Wood. Identifications. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792536.003.0005.
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Chapter 5 responds to the previous chapter by looking at the complications that surround a very clearly labelled image of Mithra. This image appears on coins minted in Bactria, a region in the Kushan Empire that spanned parts of modern-day Afghanistan, Pakistan, and northern India from the early first century AD to the early third century AD. On these coins we find a youthful figure with a halo identified as ‘Miiro’, who is offering a blessing for the king, Kanishka. The public nature of these coins is contrasted with less-accessible depictions of the god found in sanctuaries across Bactria. The precise character of who is represented and what was understood by these labels and images is complex, and so this chapter explores how the name ‘Miiro’ on these coins related to the religious beliefs of the Bactrian population.
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Miller, Mitchell. The Reception of Hesiod by the Early Pre-Socratics. Redaktorzy Alexander C. Loney i Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.42.
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The early pre-Socratics’ major speculative and critical initiatives—in particular Anaximander’s conceptions of the justice of the cosmos and of the apeiron as its archē and Xenophanes’s polemics against immorality and anthropomorphism in the depiction of the gods and against any claim to divine inspiration—appear to break with Hesiod’s form of thought. But the conceptual, critical, and ethical depth of Hesiod’s own rethinking of the lore that he inherited complicates this picture. Close examination of each of their major initiatives together with the relevant passages in Hesiod shows that even in the course of departing from his thought, Anaximander and Xenophanes also reappropriate and renew it. A postscript to this chapter poses some questions for future inquiry into Heraclitus’s and Parmenides’s receptions of Hesiod.
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Gillespie, Caitlin C. We Learned These Things from the Romans. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190609078.003.0005.
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Chapter 4 analyzes Dio’s representation of Boudica as an emblem of barbarian strength and fortitude who criticizes the misplaced values of the Romans. Boudica’s fearsome visage opens the conversation. Her appearance has parallels in Diodorus Siculus’s description of the Gauls, and material evidence of East Anglia provides support for her wearing a gold torc (a type of metal band worn around the neck). Images of the personified Britannia and other non-Romans suggest the models Dio is working against in his depiction of Boudica. Boudica’s speech in Dio responds to other female speeches, from Hersilia, to Veturia, to the empress Livia. In her speech, Boudica comments on the failures of Nero’s regime and the lack of imperial models of traditional Roman morality.
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Clasen, Mathias. Lost and Hunted in Bad Woods. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0013.
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Eduardo Sánchez and Daniel Myrick’s The Blair Witch Project (1999) launched the horror subgenre of “found footage”—pseudodocumentary horror—into the mainstream. The film was marketed as a true story and features the footage of three student filmmakers who got lost on a trip to document the Blair Witch phenomenon. The film was remarkably effective in using simple cinematic techniques to generate an authenticity aesthetic, and in using a suggestive multiplatform advertising campaign, thus capturing audience interest and generating strong emotional responses. The film tapped into evolved defense mechanisms through its depiction of vulnerable youths getting lost in an unknown, hostile natural environment and being hunted by some malignant, apparently supernatural agent. The film’s promise of authenticity, of real horror, made the narrative premise even more salient to audiences.
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Shapiro, H. A. Hesiod and the Visual Arts. Redaktorzy Alexander C. Loney i Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.17.
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This chapter explores the influence of Hesiod’s Theogony on Greek visual artists of the archaic period (ca. 700–480 bce). Since dozens of divinities and heroes mentioned in the poem appear in sculpture and (more often) vase painting and cannot be systematically treated, one major work with strong Hesiodic associations is examined as a test case. The Attic black-figure dinos signed by the painter Sophilos and dated ca. 580 bce includes more than thirty gods and goddesses participating in the wedding of Peleus and Thetis, future parents of Achilles. All of these can be found in the Theogony, and the poem can be a helpful guide to understanding how the individual figures are placed in the procession. The unique depiction of Okeanos on the dinos illustrates especially well the complex relationship of text and image.
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Parr, Connal. Ron Hutchinson, Graham Reid, and the Hard Eighties. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0006.
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The political and theatrical climate of the 1980s are charted through Graham Reid and Ron Hutchinson, two dramatists who produced their key works in the decade. An apparent (and sentimentalized) ‘golden age’ for Irish and Ulster drama simultaneously accompanied the hardships of deindustrialization. Both writers explored Protestant identity via their exiled trajectories as writers based outside Northern Ireland, reaching large audiences through television drama. Hutchinson—following his Play for Today experiments—would go on to success in America, while Reid’s Billy plays (1982–4) earned plaudits for their depiction of universal working-class life. Through their performed and unproduced projects both Reid and Hutchinson also confront the Reverend Ian Paisley, whose controversial legacy is assessed and contested by other Ulster Protestants, itself a reflection of political diversity within Ulster Protestantism.
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Barrett, Caitlín Eilís. Domesticating Empire. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190641351.001.0001.
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This book is the first contextually oriented monograph on Egyptian imagery from Roman households. The author uses case studies from Flavian Pompeii to investigate the close association between representations of Egypt and a particular type of Roman household space: domestic gardens. Through paintings and mosaics depicting the Nile, canals that turned the garden itself into a model “Nile,” and statuary depicting Egyptian gods, animals, and individuals, many gardens in Pompeii confronted ancient visitors with images of (a Roman vision of) Egypt. Simultaneously far away and familiar, these imagined landscapes transformed domestic space into a microcosm of empire. In contrast to older interpretations that connect Roman “Aegyptiaca” to the worship of Egyptian gods or the problematic concept of “Egyptomania,” a contextual analysis of these garden assemblages suggests new possibilities for meaning. In Pompeian houses, Egyptian and Egyptian-looking objects and images interacted with their settings to construct complex entanglements of “foreign” and “familiar,” “self” and “other.” Representations of Egyptian landscapes in domestic gardens enabled individuals to present themselves as cosmopolitan, sophisticated citizens of empire. Yet at the same time, household material culture also exerted an agency of its own: domesticizing, familiarizing, and “Romanizing” once-foreign images and objects. That which was once alien and potentially dangerous was now part of the domus itself, increasingly incorporated into cultural constructions of what it meant to be “Roman.” Through participatory multimedia assemblages evoking landscapes both local and international, the houses examined in this book made the breadth of empire compatible with the familiarity of home.
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Coward, John M. Making Sense of Savagery. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040269.003.0007.
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This chapter looks at Indian cartoons in the Daily Graphic, a New York paper that became the nation's first illustrated daily paper. It compares cartoon Indians before and after the Battle of the Little Bighorn, the fight that captured the public's imagination and quickly became the most famous battle between plains Indians and the U.S. Army. Like much of the press, the Graphic demonized the Sioux in the weeks following the battle, though it soon moderated its tone and published more tempered Indian images. Its editorials identified some good Indians, even among the hostile Sioux, and its anti-Indian cartoons disappeared. The paper's news illustrations reinforced this moderate tone, depicting Indians in more neutral terms.
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Maxwell, Angie, i Todd Shields. The Long Southern Strategy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190265960.001.0001.
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Beginning with Barry Goldwater’s Operation Dixie in 1964, the Republican Party targeted disaffected white voters in the Democratic stronghold of the American South. To realign these voters with the GOP, the party capitalized on white racial angst that threatened southern white control. However—and this is critical—that decision was but one in a series of decisions the GOP made not just on race, but on feminism and religion as well, in what is called here the “Long Southern Strategy.” In the wake of Second-Wave Feminism, the GOP dropped the Equal Rights Amendment from its platform and promoted traditional gender roles in an effort to appeal to anti-feminist white southerners, and it politicized evangelical fundamentalist Christianity as represented by the Southern Baptist Convention. All three of those decisions were necessary for the South to turn from blue to red. To make inroads in the South, however, GOP politicians not only had to take these positions, but they also had to sell them with a southern “accent.” Republicans had to mirror southern white culture by emphasizing an “us vs. them” outlook, preaching absolutes, accusing the media of bias, prioritizing identity over the economy, depicting one’s way of life as under attack, encouraging defensiveness toward social changes, and championing a politics of vengeance. Over time, that made the party southern, not in terms of place, but in its vision, in its demands, in its rhetoric, and in its spirit. In doing so, it nationalized southern white identity, and that has changed American politics.
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Brennan, T. Corey. Sabina’s Death and Deification. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190250997.003.0010.
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The chapter places Sabina’s death firmly in late 137. It first studies a relief depicting Hadrian’s consecration ceremony for her on Rome’s Campus Martius. No literary source mentions her deification, but coinage and inscriptions confirm it. Perhaps Hadrian’s failing health and the intense political conflict following his adoption of Aelius Caesar provide a context for the empress’s death, especially given the ancient tradition that Hadrian forced her into suicide. Divinization came naturally to the deceased empress, even though Hadrian alienated the Senate thoroughly and quashed much of that body’s good will for Sabina’s memory. After Hadrian’s death, his adopted heir Antoninus did complete the late emperor’s Mausoleum and buried the imperial couple there in 139, but before the Senate allowed Hadrian the same divine honors as Sabina’s. The chapter also details how, after Sabina’s deification, Matidia II aggrandized herself in Antoninus Pius’ and Marcus Aurelius’ reigns.
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Colloff, Matthew. Flooded Forest and Desert Creek. CSIRO Publishing, 2014. http://dx.doi.org/10.1071/9780643109209.
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The river red gum has the most widespread natural distribution of Eucalyptus in Australia, forming extensive forests and woodlands in south-eastern Australia and providing the structural and functional elements of important floodplain and wetland ecosystems. Along ephemeral creeks in the arid Centre it exists as narrow corridors, providing vital refugia for biodiversity.
The tree has played a central role in the tension between economy, society and environment and has been the subject of enquiries over its conservation, use and management. Despite this, we know remarkably little about the ecology and life history of the river red gum: its longevity; how deep its roots go; what proportion of its seedlings survive to adulthood; and the diversity of organisms associated with it.
More recently we have begun to move from a culture of exploitation of river red gum forests and woodlands to one of conservation and sustainable use. In Flooded Forest and Desert Creek, the author traces this shift through the rise of a collective environmental consciousness, in part articulated through the depiction of river red gums and inland floodplains in art, literature and the media.
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Hutchinson, G. O. Motion in Classical Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.001.0001.
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Ancient literature is full of people, gods, and animals in impressive motion. But while the importance of space has been realized recently, motion has had little attention, for all its prominence in literature, and its interest to ancient philosophy. Motion is bound up with decisions, emotions, character; its specific features are expressive. The book starts with motion in visual art: this leads to the characteristics of literary depiction. Literary works discussed are: Homer’s Iliad; Ovid’s Metamorphoses; Tacitus’ Annals; Sophocles’ Philoctetes and Oedipus at Colonus; Parmenides’ On Nature; Seneca’s Natural Questions. The two narrative poems here diverge rewardingly, as do philosophical poetry and prose; in the prose narrative, as in the philosophical poem, the absence of motion, and metaphorical motion, are important; the dramas scrutinize motion verbally and visually. Each discussion pursues the general roles of motion in a work, with detail on its language of motion; then passages are analysed closely, to show how much emerges when this aspect is scrutinized. A conclusion brings works and passages together. It considers the differences made by genre and by the time of writing. Among aspects of motion which emerge as important are speed, scale, shape of movement, motion and fixity, movement of one person and a group, motion willed and imposed, motion in images and unrealized possibilities. A companion website makes it easier to see passages and analyses together; it offers videos of readings to convey the vitality and subtlety with which motion is portrayed.
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Counihan, Carole. Gendering Food. Redaktor Jeffrey M. Pilcher. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199729937.013.0006.
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One of the central questions in feminism is whether gender matters. In the case of food activism, gender is also a controversial issue. In particular, one may ask how foodways—the beliefs and behaviors surrounding food production, distribution, and consumption—constrain and empower men and women to become political actors, or how gender power and identity are enacted in food activism. In this article, the author reviews the literature on food and gender and examines how gender can enlighten the study of food activism. She draws on her own ethnographic research on food, culture, and gender in Sardinia and Florence in Italy, and in Pennsylvania and Colorado in the United States. Using a food-centered life history methodology, the author has investigated people's depictions of the role of food in their lives. Her findings show that women use food as a medium to talk about their experiences, their cultures, and their beliefs. Thus, food allows the public to become aware of lives that would otherwise go unnoticed—the lives of ordinary women.
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Hanaway-Oakley, Cleo. Machine–Humans and Body-Subjects. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0004.
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This chapter presents an alternative to the popular critical vein that sees Joyce’s Ulysses and early cinema as conveying a mechanical, impersonal view of the world. It is argued that Ulysses and certain genres of early cinema were engaged—naively or otherwise—in a revaluation of Cartesian dualism, involving the reappraisal of mind/body and human/machine binaries. The physical comedy of Bloom and Charlie Chaplin is analysed with reference to phenomenological ideas on prosthesis and the machine–human interface, while other genres of early cinema, such as Irish melodrama and trick films, are considered in the light of phenomenological theories of gesture and embodiment. By comically mocking mind/body separation and depicting the inseparability of subjectivity and corporeality, Joyce and the early film-makers go beyond the ideas of Bergson and anticipate Merleau-Ponty’s later notion of the ‘body-subject’.
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Crane, Ralph. The Anglo-Indian Novel to 1947. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0013.
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This chapter explores the Anglo-Indian novel. The history of British writing on India stretches back almost as far as the Indo-British imperial encounter and includes travel writing, missionary letters, military memoirs, and scholarly accounts of Indian history and culture, all of which were published in great numbers in the eighteenth century. Literary texts followed, and included short prose narratives depicting Anglo-Indian life, missionary tales, descriptions of the landscape, and stories of native life. While all these forms were well received in their day, none was to prove as popular as the novel, which during the nineteenth century became the dominant form of Anglo-Indian literature. In the early nineteenth century, India was also used as an exotic setting for early fictions by a number of writers who would go on to rank amongst the best-known novelists of the Victorian period.
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Ridley, Aaron. Tragedy. Redaktor Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0023.
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Tragedy matters to aesthetics because it matters to philosophy, of which aesthetics is a part, and it matters to philosophy for one main reason. Tragedy engages more directly than any other artform with philosophy's own most fundamental question: How should one live? By depicting worlds in which things go wrong — in which chance and necessity play prominent and often devastating roles in the shaping of human lives — tragedy shows us aspects of a world that is, in reality, our world, the world in which we must live as best we can. Tragedy shows us lives blighted by accidents of character, by chance combinations of circumstance whose consequences unfold inexorably, by features of the human condition that are both necessary to it and, on occasion, profoundly damaging to it. In such a context, the question how to live acquires its proper urgency and complexity. And in showing us the world in that light, tragedy offers to philosophy its most authentic impetus and challenge.
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Balberg, Mira, i Haim Weiss. When Near Becomes Far. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197501481.001.0001.
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When Near Becomes Far explores the representations and depictions of old age in the rabbinic Jewish literature of late antiquity. Through close literary readings and cultural analysis, the book reveals the gaps and tensions between idealized images of old age on the one hand, and the psychologically, physiologically, and socially complicated realities of aging on the other hand. The authors argue that while rabbinic literature presents various statements on the qualities and activities that make for good old age, on the respect and reverence that the elderly should be awarded, and on harmonious intergenerational relationships, it also includes multiple anecdotes and narratives that portray aging in much more nuanced and poignant ways. These anecdotes and narratives relate, alongside fantasies about blissful or unnoticeable aging, a host of fears associated with old age: from the loss of beauty and physical capability to the loss of memory and mental acuity, and from marginalization in the community to being experienced as a burden by one’s own children. Each chapter of the book focuses on a different aspect of aging in the rabbinic world: bodily appearance and sexuality, family relations, intellectual and cognitive prowess, honor and shame, and social roles and identity. As the book shows, in their powerful and sensitive treatments of aging, rabbinic texts offer some of the richest and most audacious observations on aging in ancient world literature, many of which still resonate today.
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Moss-Wellington, Wyatt. Cognitive Film and Media Ethics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552889.001.0001.
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Cognitive Film and Media Ethics provides a grounding in the use of cognitive science to address key questions in film, television, and screen media ethics. This book extends prior works in cognitive media studies to answer normative and ethically prescriptive questions: what could make media morally good or bad, and what, then, are the respective responsibilities of media producers and consumers? Moss-Wellington makes a primary claim that normative propositions are a kind of rigor, in that they force media theorists to draw more active ought conclusions from descriptive is arguments. Cognitive Film and Media Ethics presents the rigors of normative reasoning, cognitive science, and consequentialist ethics as complementary, arguing that each seeks progressive elaboration on its own models of causality, and causal projections are crucial for any reflection on our moral responsibilities in the world. A hermeneutics of “ethical cognitivism” is applied in the latter half of the book, with each essay addressing a different case study in film, television, news, and social media: cinema that sets out to inspire moral dissonance in the viewer, satirical and humorous depictions of family drama in film and television, the politics of the romantic comedy, formal aspects of screen media bullying in an era dubbed the “television renaissance,” and contemporary problems in the conflation of news and social media. Cognitive Film and Media Ethics synthesizes current research in social psychology, anthropology, memory studies, emotion and cognition, personality and media selection, and evolutionary biology, integrating wide-ranging concepts from the various disciplines that make up cognitive theory to provide new vantages on the applied ethics of film and screen media.
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Kizenko, Nadieszda. Good for the Souls. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192896797.001.0001.
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The rite of confession played a unique role in the legal, political, social, and cultural worlds of imperial Russia from the moment that Tsars as well as hierarchs realized that having their subjects go to confession could make them better citizens as well as better Christians. For three centuries, confession became a political tool, a devotional exercise, a means of education, and a literary genre. It defined who was Orthodox, and who was ‘other.’ From first encouraging Russian subjects to participate in confession to improve them and integrate them into a reforming Church and State, Church and state authorities working hand in hand turned to confession to integrate converts of other nationalities. But the sacrament was not only something that state and religious authorities sought to impose on an unwilling populace. Confession could provide an opportunity for carefully crafted complaint. What state and church authorities initially imagined as a way of controlling an unruly population could be used by the same population as a way of telling their own story, or simply getting time off to attend to their inner lives. This book brings Russia and Ukraine to the rich scholarly and popular literature on confession, penance, discipline, and gender in the modern world, and in doing so opens a key window onto church, state, and society. It brings together sources and discourses that are usually discussed separately. It draws on state laws, Synodal decrees, archives, manuscript repositories, and Consistories in Moscow, St. Petersburg, Kyiv, and Kazan. It also uses clerical guides, sermons, saints’ lives, works of literature, and visual depictions of the sacrament in those books and on church iconostases. Russia, Ukraine, and Orthodox Christianity emerge both as part of the European, transatlantic religious continuum—and, in crucial ways, distinct from it.