Catholics,anglicans and puritans. Seventeenth century essays

The Fair Intellectual Club was the earliest female intellectual sociability on record in Britain in the eighteenth century. A study of the club provides insights into the motivations for founding such a society. The reading list of the club contains some twenty pamphlets on a variety of subjects including the education of both sexes, friendship and moral issues. The particular question in mind while assessing these materials will be, as far as this club is concerned, what kind of philosophical understanding of sociability inspired these ladies. The Fair Intellectual Club also provides a platform for discussion of questions about the identity, the responsibility, and the gender of learned persons, in addition to their role as active agents in the production of knowledge in the eighteenth century.     

Reinhold Niebuhr and Richard John Neuhaus on Religion and Democracy in the United States

Abstract

Richard John Neuhaus, like Reinhold Niebuhr before him, understood the vital civic role that religion plays in democratic society. As pastors and public intellectuals, both men were committed to public or civil forms of religion that, at their best, could inform, inspire, or chasten American political thought and action. There are crucial differences, nevertheless–between Niebhur’s and Neuhaus’s historical contexts, theological outlooks, political positions, and attitudes toward the American project–that help to explain their distinctive legacies and different receptions within the academy. However much Neuhaus admired Niebuhr, these differences suggest why Neuhaus was not the Reinhold Niebuhr of his day.     

Lawrence A. Babb and Susan S. Wadley,eds., Media and the Transformation of Religion in South Asia

Indo-Iranian Journal -     

Sociology,Religion, and Historians Revisited: Towards an Historical Sociology of Religion

Abstract

Two great movie directors were both born in 1930. One of them, Jean-Luc Godard, revolutionized filmmaking during his 30s and declined in creativity thereafter. In contrast, Clint Eastwood did not direct his first movie until he had passed the age of 40 and did not emerge as an important director until after he was 60. This dramatic difference in life cycles was not accidental, but was a characteristic example of a pattern that has been identified across the arts: Godard was a conceptual innovator who peaked early, whereas Eastwood was an experimental innovator who improved with experience. This article examines the goals, methods, and creative life cycles of Godard, Eastwood, and eight other directors who were the most important filmmakers of the second half of the twentieth century. Francis Ford Coppola, Stanley Kubrick, Stephen Spielberg, and François Truffaut join Godard in the category of conceptual young geniuses, while Woody Allen, Robert Altman, John Cassavetes, and Martin Scorsese are classed with Eastwood as experimental old masters. In an era in which conceptual innovators have dominated a number of artistic activities, the strong representation of experimental innovators among the greatest film directors is an interesting phenomenon.