scholarly journals Reconciling the God of Traditional Theism with the World’s Evils

Religions ◽  
2020 ◽  
Vol 11 (10) ◽  
pp. 514
Author(s):  
Robin Attfield
Keyword(s):  
Free Will ◽  
Post Mortem ◽  
Traditional Theism ◽  
As If

Replying to James Sterba’s argument for the incompatibility of the world’s evils with the existence of the God of traditional theism, I argue for their compatibility, using the proposition that God has reasons for permitting these evils. Developing this case involves appeal to an enlarged version of both the Free Will Defence and Hick’s Vale of Soul-Making Defence, in the context of God’s decision to generate the kind of natural regularities conducive to the evolution of a range of creatures, including free and rational ones. Sterba writes as if God would be required to authorise frequent infringements of these regularities. Sterba’s arguments from ethics and from the inadequacy of post-mortem compensation are problematised. Predicates used of God must bear a sense appropriate to the level of creator, and not of a very powerful cosmic observer. The ethics that applies within creation should not be confused with the ethics of creating.

scholarly journals Post-mortem Photography: the Edge Where Life Meets Death?

2016 ◽  
Vol 5 (2) ◽  
pp. 103-115 ◽  
Author(s):  
Melania Borgo ◽  
Marta Licata ◽  
Silvia Iorio
Keyword(s):  
The Other ◽  
Post Mortem ◽  
Memento Mori ◽  
Dead Person ◽  
Other Hand ◽  
Victorian Age ◽  
As If

AbstractWhy would we ever take a picture of a dead person? This practice began as a way to perpetuate the image of the deceased, rendering their memory eternal – Victorians thought that it could be useful to have portraits of their dead loved ones. Certainly, subjects inpost-mortemphotos will be remembered forever. However, we must ask two more questions. Are they people portrayed as if they were still alive? Or on the other hand, are they bodies that represent death? Our paper takes an in-depth look at different iconographical styles as well as photographic techniques and religious and ethical reasons behindmemento moriphotos during the Victorian Age.

scholarly journals The cultures of grief: The practice of post-mortem photography and iconic internalized voices

Human Affairs ◽  
2018 ◽  
Vol 28 (4) ◽  
pp. 471-482 ◽  
Author(s):  
Luca Tateo
Keyword(s):  
Social Practice ◽  
Exploratory Analysis ◽  
Post Mortem ◽  
Specific Kind ◽  
Dialogical Self ◽  
Inner Dialogue ◽  
Dialogical Self Theory ◽  
Affective Semiosis ◽  
Different Cultures ◽  
As If

Abstract I develop an exploratory analysis of “post-mortem photography”, a social practice existing in different cultures. The study, part of a larger project in Denmark, “The culture of grief”, combines Dialogical Self Theory, mainly concerning verbal and textual objects, with the iconic framework of affective semiosis to discuss the function of taking and keeping pictures of dead persons as if they were still alive or just sleeping. How can this practice and artifact culturally mediate the experience of death and the elaboration of grief? What kind of inner dialogue is developed through the internalization of this specific kind of presence/absence? These are some of the preliminary questions I will try to answer by discussing some examples of post-mortem photography from the 19th and 20th centuries in different countries.

Do Psychologically Autonomous Individuals Behave as if they Have Free Will?

2009 ◽  
Vol 28 (3) ◽  
pp. 269-281 ◽  
Author(s):  
Robert G. Kunzendorf ◽  
Joelle Connors ◽  
Claudia Arrecis ◽  
Jarrad Farrington ◽  
Sherri Carter
Keyword(s):  
Free Will ◽  
As If

Portraying the Dead

1989 ◽  
Vol 19 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Jay Ruby
Keyword(s):  
Nineteenth Century ◽  
Turn Of The Century ◽  
The Body ◽  
Place Of Death ◽  
Post Mortem ◽  
Nineteenth Century America ◽  
The Dead ◽  
As If ◽  
Mourning Process

This article explores the custom of post-mortem photography. In nineteenth century America, this was a socially acceptable, publicly acknowledged form of photography. Professional photographers accepted commissions, advertised the service, and held professional discussions in their journals about the practice. The images were publicly displayed in wall frames and albums. Initially, death pictures were portraits which attempted to deny death by displaying the body as if asleep, or even conscious. By the turn-of-the-century, the deceased were displayed in a casket with an increasing emphasis upon the funeral. Today, families make their own photos; circulating them in a private manner so that many people assume that the custom has been abandoned. Counselors working with the parents of children who have died provide evidence that these images can be useful in the mourning process. The findings of this study suggest that a more thorough examination of the place of death-related photographs in the management of grief would be of value.

scholarly journals Supervenient Freedom and the Free Will Deadlock

Disputatio ◽  
2017 ◽  
Vol 9 (45) ◽  
pp. 219-243 ◽  
Author(s):  
Nadine Elzein ◽  
Tuomas K. Pernu
Keyword(s):  
Free Will ◽  
The Past ◽  
Physical Level ◽  
Do So ◽  
As If

Abstract Supervenient libertarianism maintains that indeterminism may exist at a supervening agency level, consistent with determinism at a subvening physical level. It seems as if this approach has the potential to break the longstanding deadlock in the free will debate, since it concedes to the traditional incompatibilist that agents can only do otherwise if they can do so in their actual circumstances, holding the past and the laws constant, while nonetheless arguing that this ability is compatible with physical determinism. However, we argue that supervenient libertarianism faces some serious problems, and that it fails to break us free from this deadlock within the free will debate.

War and Peace

2010 ◽  
Author(s):  
Leo Tolstoy ◽  
Amy Mandelker
Keyword(s):  
Free Will ◽  
Napoleonic Wars ◽  
The Novel ◽  
War And Peace ◽  
National History ◽  
Marital Relations ◽  
Isaac Babel ◽  
Private And Public ◽  
As If

If life could write, it would write like Tolstoy.’ Isaac Babel Tolstoy’s epic masterpiece intertwines the lives of private and public individuals during the time of the Napoleonic wars and the French invasion of Russia. The fortunes of the Rostovs and the Bolkonskys, of Pierre, Natasha, and Andrei, are intimately connected with the national history that is played out in parallel with their lives. Balls and soirées alternate with councils of war and the machinations of statesmen and generals, scenes of violent battles with everyday human passions in a work whose extraordinary imaginative power has never been surpassed. The prodigious cast of characters, both great and small, seem to act and move as if connected by threads of destiny as the novel relentlessly questions ideas of free will, fate, and providence. Yet Tolstoy’s portrayal of marital relations and scenes of domesticity is as truthful and poignant as the grand themes that underlie them. In this revised and updated version of the definitive and highly acclaimed Maude translation, Tolstoy’s genius and the power of his prose are made newly available to the contemporary reader.

Universal Salvation and a Soteriology of Divine Punishment

2000 ◽  
Vol 53 (4) ◽  
pp. 449-471 ◽  
Author(s):  
Morwenna Ludlow
Keyword(s):  
Free Will ◽  
Post Mortem ◽  
Universal Salvation ◽  
Divine Justice ◽  
Divine Punishment ◽  
The Individual

Critics of the idea of universal salvation have frequently raised issues such as biblical evidence, human free will, and divine justice; however, somewhat less attention has been paid to the problems surrounding the concept of punishment used by some universalists. Since most universalists recognise the obvious objection that many (if not most) people appear not to be in a position in this life to be saved, there have been various suggestions as to how salvation can occur after the death of the individual. Many have taken the view that a period of post-mortem punishment will cleanse individuals of their sin. In other words, these universalists are not so much denying hell altogether, as denying an eternal hell. Whilst this idea may seem preferable to that of an eternal hell, there are various important theological and philosophical difficulties associated with it.

The unit of survival

2016 ◽  
Vol 20 (1) ◽  
pp. 39-44
Author(s):  
Andrew Ballantyne
Keyword(s):  
Free Will ◽  
Functional Connections ◽  
The World ◽  
Actor Networks ◽  
As If

We live in ecologies in which the elements connect with one another. If we see elements in isolation then we can believe that we are doing well by proliferating or perfecting an element, but for the ecology to do well everything must be held in balance. We are part of the environment of others, just as they are part of ours. Buildings mediate our relations with one another and with the world. Even some buildings that seem visually isolated, such as the Farnsworth House, are connected to mains services and need the rest of a civilization to be in place if they are to be conceived and maintained. If we think of ourselves as participating in actor-networks, rather than as autonomous individuals with free will to act on our desires, then it becomes possible to articulate ways in which we are enmeshed in our milieu. Our connections in the world are an important part of who we are. The elements of our bodies work together to produce consciousness, but also much else besides. The conscious part of us can articulate how it feels, and what it thinks, so we give it a disproportionate level of attention. In turn, at a larger scale, we participate in entities that act as if they have a will of their own, but they do not necessarily articulate it, but we help them along without necessarily being aware of it. Buildings are involved in establishing functional connections and separations in networks, both domestically, in providing protection and shelter, and economically, in connecting us into the banking and property systems that do much to establish the pattern of our lives. The unit of survival is organism + habitat, and our habitats do not have easily defined local limits.

Ultrastructural investigation of an adenoma of the pituitary post mortem

1987 ◽  
Vol 45 ◽  
pp. 622-623
Author(s):  
Shirley Siew ◽  
W. C. deMendonca
Keyword(s):  
Deleterious Effect ◽  
Anterior Lobe ◽  
Definitive Diagnosis ◽  
Pars Intermedia ◽  
Post Mortem ◽  
Close Apposition ◽  
Autopsy Material ◽  
Progressive Loss ◽  
Transmission Electron ◽  
Means Of Transmission

The deleterious effect of post mortem degeneration results in a progressive loss of ultrastructural detail. This had led to reluctance (if not refusal) to examine autopsy material by means of transmission electron microscopy. Nevertheless, Johannesen has drawn attention to the fact that a sufficient amount of significant features may be preserved in order to enable the establishment of a definitive diagnosis, even on “graveyard” tissue.Routine histopathology of the autopsy organs of a woman of 78 showed the presence of a well circumscribed adenoma in the anterior lobe of the pituitary. The lesion came into close apposition to the pars intermedia. Its architecture was more compact and less vascular than that of the anterior lobe. However, there was some grouping of the cells in relation to blood vessels. The cells tended to be smaller, with a higher nucleocytoplasmic ratio. The cytoplasm showed a paucity of granules. In some of the cells, it was eosinophilic.

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