scholarly journals Following the Footsteps of John Polkinghorne: In Search of Divine Action in the World

Religions ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 263
Author(s):  
Miroslav Karaba

John Polkinghorne was, undoubtedly, one of the most influential authors in the dialogue between science and religion. His attitude is characterized by a focus on the concept of kenosis in response to the ontological orientation of process philosophy and theology. God’s omnipotence implies the possibility that God created the universe as an evolutionary and autonomous world, which is not predetermined but has been created for openness. According to Polkinghorne, the position of this openness may be in the uncertainty associated with the world of quantum and chaotic phenomena. God’s self-limitation of his own omnipotence can thus be understood as an effort to respect the autonomy of natural processes and human freedom. Such an image of God is compatible with the current state of scientific knowledge, which itself becomes the starting point for thinking about God and his relationship to the world. Thus, despite the problems of some parts of its concept, Polkinghorne creates a comprehensive integrative approach to the dialogue between science and religion.

2017 ◽  
Vol 9 (3) ◽  
pp. 17-30
Author(s):  
Kelly James Clark

In Branden Thornhill-Miller and Peter Millican’s challenging and provocative essay, we hear a considerably longer, more scholarly and less melodic rendition of John Lennon’s catchy tune—without religion, or at least without first-order supernaturalisms (the kinds of religion we find in the world), there’d be significantly less intra-group violence. First-order supernaturalist beliefs, as defined by Thornhill-Miller and Peter Millican (hereafter M&M), are “beliefs that claim unique authority for some particular religious tradition in preference to all others” (3). According to M&M, first-order supernaturalist beliefs are exclusivist, dogmatic, empirically unsupported, and irrational. Moreover, again according to M&M, we have perfectly natural explanations of the causes that underlie such beliefs (they seem to conceive of such natural explanations as debunking explanations). They then make a case for second-order supernaturalism, “which maintains that the universe in general, and the religious sensitivities of humanity in particular, have been formed by supernatural powers working through natural processes” (3). Second-order supernaturalism is a kind of theism, more closely akin to deism than, say, Christianity or Buddhism. It is, as such, universal (according to contemporary psychology of religion), empirically supported (according to philosophy in the form of the Fine-Tuning Argument), and beneficial (and so justified pragmatically). With respect to its pragmatic value, second-order supernaturalism, according to M&M, gets the good(s) of religion (cooperation, trust, etc) without its bad(s) (conflict and violence). Second-order supernaturalism is thus rational (and possibly true) and inconducive to violence. In this paper, I will examine just one small but important part of M&M’s argument: the claim that (first-order) religion is a primary motivator of violence and that its elimination would eliminate or curtail a great deal of violence in the world. Imagine, they say, no religion, too.Janusz Salamon offers a friendly extension or clarification of M&M’s second-order theism, one that I think, with emendations, has promise. He argues that the core of first-order religions, the belief that Ultimate Reality is the Ultimate Good (agatheism), is rational (agreeing that their particular claims are not) and, if widely conceded and endorsed by adherents of first-order religions, would reduce conflict in the world.While I favor the virtue of intellectual humility endorsed in both papers, I will argue contra M&M that (a) belief in first-order religion is not a primary motivator of conflict and violence (and so eliminating first-order religion won’t reduce violence). Second, partly contra Salamon, who I think is half right (but not half wrong), I will argue that (b) the religious resources for compassion can and should come from within both the particular (often exclusivist) and the universal (agatheistic) aspects of religious beliefs. Finally, I will argue that (c) both are guilty, as I am, of the philosopher’s obsession with belief. 


2017 ◽  
Vol 10 (3) ◽  
pp. 205979911774578 ◽  
Author(s):  
Eva Pallesen

Currently, there is a growing field in organization studies, reflecting a stream in social science more broadly, which seeks to encompass a process philosophical view of the world as multiple and in constant becoming. However, this raises new questions and challenges to the field of methodology: If movement and process are the basic forms of the universe, then the vagueness and multiplicity that come with the flux of the world are not to be ruled out by rigorous research designs; rather, relating to vagueness and multiplicity may be the very precondition of approaching the studied phenomena. For some scholars, this has been an occasion for deeming the discipline of methodology ‘dead’ or ‘emptied’. In contrast to such claims, this article argues that the scholar doing empirical research from approaches drawing on process philosophy to no less extent than other scholars must deal with problems of methodological character. However, he or she may need a renewed understanding of traditional methodological categories such as documentation, validity and variation. Rather than cancelling such concepts, this article experimentally reconsiders them in a process view, using a piece of observational material to think from. The article suggests that process philosophy may open up a methodological thinking that has room for a more connotative, playful way of relating to research material – which does not demand from a method to overcome the gap between what is there and what is captured but makes use of this gap as a space of invitation and play. Rather than adhering to the promise of ruling out vagueness and filling out a gap, the article, therefore, in itself aims at being such an invitation for a connotative, playful methodology.


Author(s):  
Moh. Miftahusyaian

Western scholars who separate between science and religion have brought <br />people in the final point of civilization. Therefore, the duty of Moslem scholar in the 21th century is to rebuild the spiritual intellectual integrity in the frame of science and civilization. The main responsibility of Moslem scholars, nowadays, in reaching the brightness of life is reconstructing science paradigm by relocating God as the main stream of thought. The bright time of Madinah civilization is the starting point of the glory of Islamic civilization which successfully has entered all over the world. Therefore, intellectual orientation which has become Moslem’s responsibility is to reform the principles of Madinah civilization to be reconstructed to the present time. This is very important issue as Madinah civilization has not established yet that will be possible for Moslem scholars can speak much about the 21th century civilization.  At the beginning of Islam period, the fight proposed by Moslem scholars was deconstructed the Jahiliyah’s way of thinking, furthermore, the great jihad of Moslem scholars in the present time is reconstructing the scientific way of thinking which is currently empirical-minded. Moreover, the Moslem scholar’s responsibility is to present spiritualism in scientific discourse. The integration of science and religion has become conceptualization of his science, hence, al Quran will be always the eternal source of science.


2020 ◽  
pp. 112-125
Author(s):  
M. V. Golubeva

The article considers the motif structure of the books by three young poets: G. Medvedev (A Butterfly Knife [Nozh-babochka], 2019), A. Trifonova (a yellow Ikarus bus in the distance [zhelty ikarus vdali], 2019), and A. Kinash (Fragments from a Dream Dictionary [Otryvki iz sonnika], 2019). A comparative analysis of the three books helps the author to identify typical generational traits — in poetics, themes, the motif structure, as well as ways to interpret the laws of the universe and solve semantic problems. The topic of a child’s world features in the works by Medvedev, Trifonova and Kinash alike; their childhood is shaped by playgrounds in provincial towns, active outdoor games and 1990s children’s folklore, although each of them treats these biographical and literary themes in their own way. Trifonova prefers a linear interpretation of time and space, while Kinash chooses to employ a mythological chronotope; in Medvedev’s book, time and space follow the principles of historical organization with their holistic and systematic character. Childhood appears to be the starting point for creation of the poetic system of each of the poets as well as a destination they keep returning to.


1994 ◽  
Vol 6 (1) ◽  
pp. 1-23
Author(s):  
Oskar Gruenwald ◽  

Contemporary natural science is returning to the question of First Principles concerning the origin, nature, and destiny of man and the universe, while the social sciences bracket man and the question of values, and theologians largely concede factual pronouncements about the world to scientists. This essay proposes that man himself is the missing link between science and religion, nature and spirit. And that the main challenge for science and religion today is to find a common, intersubjectively transmissible language which could bridge the conceptual gap between these two fields of inquiry, A genuine science-theology dialogue would have to "unbracket" man and encompass the totality of human experience via a global approach to all knowing seeking to rediscover the interconnectedness and complementarity between facts and values, knowledge and faith, science and religion.


2019 ◽  
pp. 121-159
Author(s):  
Jan Piotr Cieślak ◽  
Wiktoria Kozioł ◽  
Magdalena Kunińska

The topic of the paper is the idea of matter in Tadeusz Kantor’s painting after World War II, including metaphorical painting, the informel, and the painting of the matter (1945-1964). The artist defined matter as an indeterminate, universal foundation which is a vehicle of the attributes of all that can be perceived by the senses, both animate bodies and inanimate things. A starting point are Kantor’s own texts – his notes and publications reflecting particular stages of his artistic evolution, critical essays on art, as well as later statements referring to the period under scrutiny. The present analysis is an attempt to find out whether Kantor’s postulates were really reflected in his art. Its main goal is to reconstruct his line of reasoning concerning matter and focus on the activities rooted in his theories, which is why contemporary reception and interpretations of his painting have not been taken into account. The frame of reference includes philosophical and artistic ideas known to Kantor or available to the artistic circles of the period. The text has been divided into four parts corresponding to particular stages of the artist’s development: (1) 1945-1947, when Kantor was trying to find ways of artistic expression beyond traditional topics of painting, such as the human figure, (2) 1947-1954, the metaphorical period, when, as a result of his visit to the Palais de la Découverte, he tried to represent the world invisible to the eye, (3) 1955-1959, the informelperiod, when paint became for him an equivalent of the matter, a synecdoche, one substance symbolizing all of it, and (4) 1958-1964, painting of the matter, when he kept using also other substances added to paint and chose a “concrete” approach to the painting’s meaning. The authors argue that over the first two decades following World War II Kantor succeeded in creating a new kind of painting, corresponding to the present, in which matter was to be dominant. To achieve that goal, for many years he was experimenting with different ways of representing matter – its ruling forces and principles. His initial existential observations, which challenged the uniqueness of humans in the universe, were later supplemented by shocking contact with science at the Paris Museum of Inventions. In the next decade, Kantor stopped making references to science and accepted process as a basic method of reaching the ontological foundation of the world, i.e. “matter.” His art was no longer “production,” but turned into “action.” At the last stage under consideration, he decided that the painting must not present signs referring to reality beyond it. He rejected the idea of painting as illusion and mediation, claiming that the matter of art is concrete, that it becomes “what it is.”


2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.


2013 ◽  
Vol 42 (4) ◽  
pp. 15-22
Author(s):  
Lars Rømer

This article investigates how experiences of ghosts can be seen as a series of broken narratives. By using cases from contemporary as well 19th century Denmark I will argue that ghosts enter the world of the living as sensations that question both common sense understanding and problematize the unfinished death. Although ghosts have been in opposition to both science and religion in Denmark at least since the reformation I will exemplify how people deal with the broken narrative of ghosts in ways that incorporate and mimic techniques of both the scientist and the priest. Ghosts, thus, initiate a dialogue between the dead and the living concerning the art of dying that will enable both to move on.


2015 ◽  
Vol 7 (1) ◽  
pp. 199-207 ◽  
Author(s):  
Dariusz Łukasiewicz

In the article, first I present the atheistic argument from pointless evil and the argument from chance. The essence of the argument from chance consists in the incompatibility of the existence of purposeless events and the existence of a God who planned the universe to the last detail. Second, I would like to show that there is a relation between the evidential argument from evil and the argument from chance. An analysis of the theistic argument from small probabilities is a helpful starting point for the presentation of how the two arguments are related.


2014 ◽  
Vol 39 (1) ◽  
Author(s):  
Jan Kurowiak

AbstractAs a work of propaganda, graphics Austroseraphicum Coelum Paulus Pontius should create a new reality, make appearances. The main impression while seeing the graphics is the admiration for the power of Habsburgs, which interacts with the power of the Mother of God. She, in turn, refers the viewer to God, as well as Franciscans placed on the graphic, they become a symbol of the Church. This is a starting point for further interpretation of the drawing. By the presence of certain characters, allegories, symbols, we can see references to a particular political situation in the Netherlands - the war with the northern provinces of Spain. The message of the graphic is: the Spanish Habsburgs, commissioned by the mission of God, they are able to fight all of the enemies, especially Protestants, with the help of Immaculate and the Franciscans. The main aim of the graphic is to convince the viewer that this will happen and to create in his mind a vision of the new reality. But Spain was in the seventeenth century nothing but a shadow of former itself (in the time of Philip IV the general condition of Spain get worse). That was the reason why they wanted to hold the belief that the empire continues unwavering. The form of this work (graphics), also allowed to export them around the world, and the ambiguity of the symbolic system, its contents relate to different contexts, and as a result, the Habsburgs, not only Spanish, they could promote their strength everywhere. Therefore it was used very well as a single work of propaganda, as well as a part of a broader campaign


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