Kenotic Gestures

2019 ◽  
Vol 3 (1-2) ◽  
pp. 198-218
Author(s):  
Michelle Voss Roberts

Christians sometimes take Christ's ken?sis, or self-emptying, as the pattern for Christian love of God and neighbor. Feminist critics suspect that this model reinforces unhealthy gender norms and oppressive power structures and contest the nature and extent of this template. Interreligious study can shed light on the debate. The Gau??ya Vai??ava tradition employs the categories of Indian aesthetic theory to explain how types of loving devotion (bhakti rasa) toward Krishna are evoked and expressed. The subordinate and peaceful modes of love for Krishna can serve as a heuristic for understanding Sarah Coakley's and Cynthia Bourgeault's retrievals of ken?sis in spiritual practice. A comparative reading suggests that objections to Coakley's version, which resembles the subordinate love of God, are more intractable due to the rootedness of its aesthetic in oppressive human experiences, while Bourgeault's reclamation of ken?sis aligns with a peaceful or meditative mode of love that feminists may more readily appreciate.

2016 ◽  
Vol 26 (2) ◽  
pp. 139-183 ◽  
Author(s):  
Kathleen Flake

AbstractMormonism's founder Joseph Smith created a complex and hieratic priestly structure within a radically democratizing nation. His stated goal was to convey to all the faithful what he believed to be his own powers of prophecy and priestly mediation of divine presence. Thus, out of historiographic arguments about where to place Mormonism within the narrative of antebellum religious polity there arises a potentially more essential question: how did early Mormonism sustain any structural coherence, much less the order it was famous for? This essay argues that Smith avoided the atomization of his movement by creating three power structures and assigning every believer a status in each. Thus, status was not absolute or static: it shifted as the person moved among the three sites of power. Or, in other words, the degree and nature of the authority held by anyone at any give time was particular to the locus of the power – office, council, or kinship – not the person. These shifting status relationships stabilized Mormonism's potentially self-destructive antinomianism and, as a historiographical matter, have been mistaken for populism. The power struggles this occasioned within his movement, particularly over Smith's inclusion of women in his priestly hierarchy, weakened his vision of reciprocal authority and shifting jurisdiction. Compromised by romanticized gender norms, but not abandoned, this power structure continues to constitute the governing structure of Mormonism, leaving it still republican in style, not substance. Historiographically, it is hoped that this closer analysis of Mormonism's polity illuminates the existence of alternatives to regnant tropes on the nature of antebellum religion and contributes to better understanding of the means by which at least one perfectionist religion has survived notwithstanding its radically antinomian tendencies.


1981 ◽  
Vol 35 (1) ◽  
pp. 57-81
Author(s):  
Cornelia J. De Vogel
Keyword(s):  

2022 ◽  
Vol 97 (4) ◽  
Author(s):  
Anna Sjöberg

In this essay, I explore an innovative theme in the interfaces between theology, gender studies, aesthetic theory, and literary studies. More specifically, my aim is to shed light on fundamental theological conflicts underlying the immensely complex subject of the elevated status of "the beautiful woman" as image and idea in Western society. This will be implemented through a close reading of the influential short story of French nineteenth-century novelist Honoré de Balzac, Le Chef-d'œuvre inconnu (The Unknown Masterpiece), from 1831. By virtue of this theologically informed reading, important facets of modern Western society's fantasy of the beautiful woman come to the fore. The essay discloses how this fantasy has far-reaching tentacles and ramifications, by which the beautiful female becomes identified with beauty per se, with art, nature, the divine, and even with life itself. Balzac's short story presents the reader with a strong statement of the scopophilic tendency of Western visual arts, but in its final peripeteia it also provides us with the tools to bring forth a contrary reading, and a direct confrontation with the traditional understanding of the task of the painter.


Author(s):  
Antti Raunio

The questions of love’s nature and its different forms were crucial to Martin Luther from the beginning of his theological career. Already as a young monk and theologian he struggled with the human incapacity to love God and sought a satisfying answer to this problem. He criticized the views of late medieval theologians such as Duns Scotus and Gabriel Biel and developed his own interpretation on the basis of the distinction between human and divine love. In the 1930s, the Swedish theologian Anders Nygren presented an interpretation of Luther’s theology of love that became widely accepted. Nygren made a strong distinction between two kinds of love and called them eros and agape. In his view they were contradictory to each other. Only the latter, selfless and disinterested agape, which gives to the object its value, is proper Christian love. For Nygren, Luther is the main representative of Christian agape, which is directed from God to a human being and from that human being to a neighbor. A human’s love of God is actually excluded, and God is considered to be the object of faith. The strength of Nygren’s view has probably prevented a larger discussion of Luther’s theology of love. Nevertheless, since the 1980s some scholars have criticized Nygren’s interpretation of Luther. Among Catholic Luther scholars, Peter Manns in particular was interested in Luther’s conception of love of God and its connections with monastic theology. On the Lutheran side, Tuomo Mannermaa came to Luther’s theology of love from the viewpoint of the relation between faith and love. For Mannermaa, “faith” in Luther’s view is above all real participation in Christ and through him in the life of the Triune God. This led Mannermaa to think about Christian love in terms of real participation in divine love. In understanding the ontological nature of love, Mannermaa thus clearly differs from Nygren’s value-theoretical approach. When seeking answers to his questions concerning Christian love, Luther used elements of the theological tradition. As an Augustinian monk, he could adhere to many emphases of his own order: Christian life as love of God and one’s neighbor, receiving of God and his gifts and denying oneself, and living in Christian unanimity where Christians have one mind and one heart. Luther interpreted all these Augustinian aspects through his own understanding of self-giving divine love, which sets one in the other’s position in order to understand his or her needs. Such love fulfills the demand of the law, which orders one to love God above all and one’s neighbor as oneself. To love God means to consider him to be goodness itself and the source of everything good, as well as to will the same with him. In other words, one has to set oneself in God’s position in order to understand that the only living God wants and needs to be considered as such. Only then is one able to receive everything good from God and to serve one’s neighbors with everything one has. The self-giving divine love gives to its objects their existence, goodness, beauty, righteousness, strength, wisdom, and wealth. In this sense, everything comes from God. A human being is meant to love with a similar love, which is oriented to those who are “nothing,” sinful, weak, poor, foolish, or unpleasant, in order to make them living, righteous, holy, strong, wise, and pleasant. This kind of love does not “seek one’s own” from its objects but gives them what it is and has. However, it does not exclude love of good and of things, such as God himself and his beautiful creatures. They may and should be loved because of their divine goodness, not because of some benefit which one may get from them. Luther often says that God is to be loved in one’s suffering, needy, and ailing neighbors. God is thus hidden within disadvantaged humans, so that his goodness is to be seen only through them. But God may also be loved when one has experienced his love and mercy. Then one experiences how God loves one who in himself or herself is “nothing.” This experience arises from love as thankfulness and from joy in God’s goodness. In both cases God is loved as a good and merciful heavenly Father, but without the intention of seeking for one’s own benefit from him. The love of God in this sense means that one does not “dictate” to God what is the good that she awaits from God, but is ready to receive everything that God wants to give.


Horizons ◽  
1981 ◽  
Vol 8 (2) ◽  
pp. 260-278 ◽  
Author(s):  
Daniel P. Sheridan

AbstractThe Bhāgavata Purāna, a ninth century encyclopedic Hindu text, combines Vedantic non-dualism and Vaiṣṇava devotionalism or love of God. Its non-dualism accommodates the reality of the universe with its individual selves in the all-encompassing reality of God. The BhP has two forms of devotion: one is a meditation which absorbs the devotee within the unity of God's reality; the other is an ecstasy which glories in separation from God in order to love God more. The Eros-Agape motif is used to compare this tradition of the love of God with those of Christianity, Islam, and Buddhism. Like them, the BhP stresses the personhood of God; unlike them, it stresses an ontological, not a mystical or spiritual, union of Deity and devotee.


1959 ◽  
Vol 12 (3) ◽  
pp. 225-242
Author(s):  
William Lillie

All Christian love has its source and exemplar in the love of God. ‘Beloved,’ wrote St. John, ‘if God so loved us, we also ought to love one another’, or again, ‘God is love, and he who abides in love abides in God, and God abides in him.’ St. Paul was equally clear; it is God's love which ‘has been poured into our hearts through the Holy Spirit which has been given to us’, and it is the love of Christ (which is, of course, the love of God revealed in Christ) that constrains us to live no longer for ourselves—the usual way in which our human love is evidenced. Dietrich Bonhoeffer echoed this from his German prison, ‘No one knows what love is except in the self-revelation of God… It is only the concrete action and suffering of Jesus Christ which will make it possible to understand what love is.’ So we must begin with the love of God; and yet our understanding of God's love comes to us through the experience of human love. It was with a picture of an earthly father, surrounded by the human things of home and field, calves and kids, robes and rings, sons and servants, that Jesus made His most vivid portrait of the love of God; and it was not only in dying on Calvary, but also in living in human fellowship with Peter and John, Martha and Mary that Jesus Himself exhibited the Father's love to men.


2015 ◽  
Vol 26 (3) ◽  
pp. 617-628
Author(s):  
Iva Draskic-Vicanovic

The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality of subjective experience of human mind.


Author(s):  
Kendra Marston

This chapter explores the manifestation of melancholic white femininity in fantasy films featuring proto-feminist heroines. The protagonists of The Pirates of the Caribbean franchise and Alice in Wonderland/Through the Looking Glass experience feelings of burden in relation to the expectations placed upon aristocratic, white women. They dream of alternate magical lands that will allow them their freedom and are rewarded through a series of events that allow them to enter these magical spaces, subsequently transgressing idealised standards of white, upper-class femininity. The protagonists form bonds with victims of oppression in these fantastical spaces, and ultimately come to realise that their freedom from gender norms will occur upon realising their long-dormant leadership potential and liberating the inhabitants of the magical zone. Feminism here is recognised as a type of social charisma with white hegemonic power structures not deposed but rather reframed through the coming-of-age journey and benevolent intentions of a melancholic, white heroine.


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