Barth and Environmental Theology

2019 ◽  
pp. 593-608
Author(s):  
Willis Jenkins
Keyword(s):  
Critical Reception ◽  
Karl Barth ◽  
Environmental Thought ◽  
Environmental Legacy ◽  
First Moment ◽  
Environmental Theology

This chapter explains the critical reception of Karl Barth by scholars of ecotheology and the challenges that his theology presents to environmental thought. Then, working along lines of critical reconsideration in environmental thought, it develops lines of possibility for reconsidering the environmental legacy of Barth. It argues that Barth silences nature and that his searing critique of modernity unwittingly reproduces its fundamental ecological illusion, the sundering of humanity from nature. Yet the silencing of nature is the first moment in a dialectic that anticipates a recovery of creation in which one may listen to other creatures. With an ecological imagination informing Barth’s logic, his system could constructively be developed to support an unusual stewardship ethic.

The role of differential phase contrast in electron microscopy

1978 ◽  
Vol 36 (1) ◽  
pp. 176-177
Author(s):  
E.M. Waddell ◽  
J.N. Chapman ◽  
R.P. Ferrier
Keyword(s):  
Phase Contrast ◽  
Practical Method ◽  
Position Vector ◽  
Differential Phase ◽  
Pure Phase ◽  
Differential Phase Contrast ◽  
The Difference ◽  
Image Position ◽  
First Moment

Dekkers and de Lang (1977) have discussed a practical method of realising differential phase contrast in a STEM. The method involves taking the difference signal from two semi-circular detectors placed symmetrically about the optic axis and subtending the same angle (2α) at the specimen as that of the cone of illumination. Such a system, or an obvious generalisation of it, namely a quadrant detector, has the characteristic of responding to the gradient of the phase of the specimen transmittance. In this paper we shall compare the performance of this type of system with that of a first moment detector (Waddell et al.1977).For a first moment detector the response function R(k) is of the form R(k) = ck where c is a constant, k is a position vector in the detector plane and the vector nature of R(k)indicates that two signals are produced. This type of system would produce an image signal given bywhere the specimen transmittance is given by a (r) exp (iϕ (r), r is a position vector in object space, ro the position of the probe, ⊛ represents a convolution integral and it has been assumed that we have a coherent probe, with a complex disturbance of the form b(r-ro) exp (iζ (r-ro)). Thus the image signal for a pure phase object imaged in a STEM using a first moment detector is b2 ⊛ ▽ø. Note that this puts no restrictions on the magnitude of the variation of the phase function, but does assume an infinite detector.

‘What we are up against’: Lindsay Anderson and The Old Crowd

2014 ◽  
Vol 11 (2-3) ◽  
pp. 332-350
Author(s):  
Tom Sutcliffe
Keyword(s):  
Critical Reception ◽  
Production History

Drawing on the invaluable experience of watching Lindsay Anderson at work and on lengthy interviews with the director, this article traces the production history and critical reception of The Old Crowd, an Alan Bennett play which Anderson directed for London Weekend Television in 1979. In so doing it paints a picture of an ITV environment very different from that of today, one in which there was far more scope for formal experimentation and innovation, but it also demonstrates all too clearly the critical hostility and incomprehension which greeted directors like Anderson who were determined to take advantage of this relatively liberal climate in order to stretch the medium to its limits.

Walter Pater: Personality and Persons

2015 ◽  
Vol 5 (3) ◽  
pp. 234-250
Author(s):  
Stephen Cheeke
Keyword(s):  
Critical Reception ◽  
The Self ◽  
Walter Pater ◽  
History Of ◽  
Knowledge Of Persons

This article argues for the centrality of notions of personality and persons in the work of Walter Pater and asks how this fits in with his critical reception. Pater's writing is grounded in ideas of personality and persons, of personification, of personal gods and personalised history, of contending voices, and of the possibility of an interior conversation with the logos. Artworks move us as personalities do in life; the principle epistemological analogy is with the knowledge of persons – indeed, ideas are only grasped through the form they take in the individuals in whom they are manifested. The conscience is outwardly embodied in other persons, but also experienced as a conversation with a person inhabiting the most intimate and sovereign dimension of the self. Even when personality is conceived as the walls of a prison-house, it remains a powerful force, able to modify others. This article explores the ways in which these questions are ultimately connected to the paradoxes of Pater's own person and personality, and to the matter of his ‘style’.

Barbara Hammer's Jane Brakhage

2020 ◽  
Vol 6 (2) ◽  
pp. 67-94
Author(s):  
Jennifer Peterson
Keyword(s):  
Short Film ◽  
Nonfiction Film ◽  
Feminist Thought ◽  
Environmental Thought ◽  
Stan Brakhage ◽  
The Many ◽  
The Voice ◽  
Creative Life

This essay analyzes Barbara Hammer's 1974 experimental nonfiction film Jane Brakhage. Both an homage and a rebuttal to the many films of Jane Brakhage made by her husband, Stan Brakhage, Hammer's film gives Jane the voice she never had in Stan's work. The article contextualizes Jane Brakhage's production at a moment when competing strands of feminist thought took different approaches to the fraught topic of nature. Hammer's films were criticized as essentialist by feminists in the 1980s, but this essay argues that Jane Brakhage complicates that reading of Hammer's work. The film documents Jane's creative life in the mountains, but critiques the limitations of her role as a heterosexual wife and mother. By locating this short film within a larger genealogy of feminist and environmental thought, we can better appreciate the extent to which Hammer's films explore the feminist and queer potential of nature.

Graham Ward’s Postmodern Karl Barth

2011 ◽  
Vol null (43) ◽  
pp. 133-155
Author(s):  
오승성
Keyword(s):  
Karl Barth
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