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The primacy of the bishop of Rome, the pope, as it was finally shaped in the Middle Ages and later defined by Vatican I and II has been one of the thorniest issues in the history of the Western and Eastern Churches. This issue was a primary cause of the division between the two Churches and the events that followed the schism of 1054: the sack of Constantinople by the crusaders in 1204, the appointment by Pope Innocent III of a Latin patriarch of Constantinople, and the establishment of Uniatism as a method and model of union. Always a topic in ecumenical dialogue, the issue of primacy has appeared to be an insurmountable obstacle to the realization of full unity between Roman Catholicism and the Orthodox Christianity. In this timely and comprehensive work, Maximos Vgenopoulos analyzes the response of major Orthodox thinkers to the Catholic understanding of the primary of the pope over the last two centuries, showing the strengths and weaknesses of these positions. Covering a broad range of primary and secondary sources and thinkers, Vgenopoulos approaches the issue of primacy with an open and ecumenical manner that looks forward to a way of resolving this most divisive issue between the two Churches. For the first time here the thought of Greek and Russian Orthodox theologians regarding primacy is brought together systematically and compared to demonstrate the emergence of a coherent view of primacy in accordance with the canonical principles of the Orthodox Church. In looking at crucial Greek-language sources Vgenopoulos makes a unique contribution by providing an account of the debate on primacy within the Greek Orthodox Church. Primacy in the Church from Vatican I to Vatican II is an invaluable resource on the official dialogue taking place between the Orthodox Church and the Roman Catholic Church today. This important book will be of broad interest to historians, theologians, seminarians, and all those interested in Orthodox-Catholic relations.
Clinician and psychoanalyst Warren S. Poland addresses some of the key questions in the field today. What is an analysis? What is the relationship of the individual patient to the specific analyst and to the work at hand? How can attention to the uniqueness of an individual patient be balanced with the inevitable pressures of the clinical partnership? And, put in the other direction, how can respect for the inevitable imperatives of the dyadic field be balanced with the primacy of the exploration of the patient's mind? How can the interactive context of clinical work be created without compromising the centrality of the search for meanings derivative from unconscious forces within the patient as a singular individual?. Containing clinical examples, this book should be of interest to anyone interested in psychotherapy.
It is often said that we live under systems of injustice. But if so, who ought to combat them, and why? Many in the world's liberal elite hold that only the perpetrators or the victims have such duties, because of their special connections to the injustice. Others hold that all of the privileged have them, because they have duties to relieve suffering or to redress their complicity in the injustice. This book challenges those answers. It argues that everyone living under such injustices ought to combat them: victim, perpetrator, and bystander alike. Moreover, they all have the same reason for doing so: such injustices suppress everyone's resistance to their workings. But there is a name for such suppression: "authoritarianism." Hence such injustices make everyone unfree, because they subject everyone to authoritarian tactics. The book thus reinterprets and defends a core doctrine of the global left, "No one is free while others are oppressed!" For it shows how oppression subjects everyone--including you--to arbitrary power. The book argues that systematic injustice occurs when one group finds that its political voice is unjustly marginalized, its members exploited and subject to systematic violence, and that society's dominant norms unjustly favor a privileged group. It diagnoses three global injustices of this kind: gender, race, and poverty. It then shows how such injustices always suppress everyone's resistance to them, making everyone unfree. But if so, it argues, then this shared unfreedom should be the ground on which victims, bystanders, and perpetrators unite in solidarity against injustice.
How can we use the experience of darkness to lift our spirits, challenge our hearts and minds and draw us closer into the heart of God?
A thoughtful and original analysis of the writings of influential French philosopher Gilles Deleuze. Gilles Deleuze is considered one of the most important French philosophers of the twentieth century. Eleanor Kaufman situates Deleuze in relation to others of his generation, such as Jean-Paul Sartre, Pierre Klossowski, Maurice Blanchot, and Claude Lévi-Strauss, and she engages the provocative readings of Deleuze by Alain Badiou and Slavoj Žižek. Deleuze, The Dark Precursor is organized around three themes that critically overlap: dialectic, structure, and being. Kaufman argues that Deleuze's work is deeply concerned with these concepts, even when he advocates for the seemingly opposite notions of univocity, nonsense, and becoming. By drawing on scholastic thought and reading somewhat against the grain, Kaufman suggests that these often-maligned themes allow for a nuanced, even positive reflection on apparently negative states of being, such as extreme inertia. This attention to the negative or minor category has implications that extend beyond philosophy and into feminist theory, film, American studies, anthropology, and architecture.
Professing Darkness confirms the centrality of Catholic thought, imagery, and sacrament to the spiritual and ethical outlook of the work of Cormac McCarthy and, more specifically, its consistent assessment of Enlightenment values and their often-catastrophic realization in American history. D. Marcel DeCoste surveys McCarthy’s fiction from both his Tennessee and Southwest periods, with chapters devoted to eight of his published novels—from Outer Dark to The Road—and a conclusion that examines the writer’s screenplay for The Counselor and the duology of The Passenger and Stella Maris. DeCoste’s attentive, wide-ranging interpretations demonstrate that McCarthy’s work mounts a sustained critique of core Enlightenment ideals and their devastating results in the American context, especially for Indigenous peoples, the environment, the viability of community, and the integrity of a self irreducible to the status of a commodity. Professing Darkness shows that Roman Catholic understandings of Penance and Eucharist, along with specific Catholic teachings—such as those regarding the goodness of Creation, the nature of evil, the insufficiency of the self, and the radical invitation to conversion—enable McCarthy’s revelatory engagement with American Enlightenment. An important contribution to the ever-expanding critical literature on a towering contemporary author, Professing Darkness offers an innovative reading of both the spiritual and political valences of McCarthy’s writing.
Going beyond the 'blackness' of black art to examine the integrative and interdisciplinary practices of Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—five contemporary black artists in whose work race plays anything but a defining role. Work by black artists today is almost uniformly understood in terms of its "blackness," with audiences often expecting or requiring it to "represent" the race. In How to See a Work of Art in Total Darkness, Darby English shows how severely such expectations limit the scope of our knowledge about this work and how different it looks when approached on its own terms. Refusing to grant racial blackness—his metaphorical "total darkness"—primacy over his subjects' other concerns and contexts, he brings to light problems and possibilities that arise when questions of artistic priority and freedom come into contact, or even conflict, with those of cultural obligation. English examines the integrative and interdisciplinary strategies of five contemporary artists—Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—stressing the ways in which this work at once reflects and alters our view of its informing context: the advent of postmodernity in late twentieth-century American art and culture. The necessity for "black art" comes both from antiblack racism and resistances to it, from both segregation and efforts to imagine an autonomous domain of black culture. Yet to judge by the work of many contemporary practitioners, English writes, black art is increasingly less able—and black artists less willing—to maintain its standing as a realm apart. Through close examinations of Walker's controversial silhouettes' insubordinate reply to pictorial tradition, Wilson's and Julien's distinct approaches to institutional critique, Ligon's text paintings' struggle with modernisms, and Pope.L's vexing performance interventions, English grounds his contention that to understand this work is to displace race from its central location in our interpretation and to grant right of way to the work's historical, cultural, and aesthetic specificity.
Sadradin Shirazi (1571 - 1640), known also as Mulla Sadra, spoke of the primacy of Being and promoted a new ontology, founding a new epistemology. Mulla Sadra's ontology is an important philosophical turn and contribution to the understanding of the development of Muslim philosophy and thought. This comprehensive study of Mulla Sadra's philosophical thought explores his departure from tradition; his turn to the doctrine of the primacy of Being; the dynamic characteristics of Being and the concept of substantial change; comparisons with Heidegger's fundamental ontology; and the influence of Mulla Sadra's ontology on subsequent Muslim philosophy. Of particular value to students of philosophy, Islamic and Middle Eastern studies, philosophy of religion, and general readers who seek to understand Muslim philosophy, this book explores the significance of the doctrine of Mulla Sadra and its impact on subsequent debates in the Muslim world.
Deleuze’s and Guattari’s philosophy in the field of artistic research Gilles Deleuze’s intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze’s subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze’s concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama on the intersection between music, art, philosophy, and scholarship. The forty-eight chapters in this publication present a kaleidoscopic view of different fields of knowledge and artistic practices, exposing for the first time the diversity and richness of a world situated between artistic research and the philosophy of Gilles Deleuze and Félix Guattari. Within different understandings of artistic research, the authors—composers, architects, performers, philosophers, sculptors, film-makers, painters, writers, and activists—map practices and invent concepts, contributing to a creative expansion of horizons, materials, and methodologies. Contributors VOLUME 1: Paulo de Assis, Arno Böhler, Edward Campbell, Diego Castro-Magas, Pascale Criton, Zornitsa Dimitrova, Lois Fitch, Mike Fletcher, Paolo Galli, Lindsay Gianoukas, Keir GoGwilt, Oleg Lebedev, Jimmie LeBlanc, Nicolas Marty, Frédéric Mathevet, Vincent Meelberg, Catarina Pombo Nabais, Tero Nauha, Gabriel Paiuk, Martin Scherzinger, Einar Torfi Einarsson, Steve Tromans, Toshiya Ueno, Susanne Valerie, Audronė Žukauskaitė VOLUME 2: Éric Alliez, Manola Antonioli, Jūratė Baranova, Zsuzsa Baross, Anna Barseghian, Ian Buchanan, Elena del Río, Luis de Miranda, Lucia D’Errico, Lilija Duoblienė, Adreis Echzehn, Jae Emerling, Verina Gfader, Ronny Hardliz, Rahma Khazam, Stefan Kristensen, Erin Manning, John Miers, Elfie Miklautz, Marc Ngui, Andreia Oliveira, Federica Pallaver, Andrej Radman, Felix Rebolledo, Anne Sauvagnargues, Janae Sholtz, Mhairi Vari, Mick Wilson, Elisabet Yanagisawa