A Workshop on European Peasants

Art critics and scholars have puzzled over the behavior of Pablo Picasso, Gerhard Richter, and Sigmar Polke, three important modern painters who have made frequent and abrupt changes of style. In each case, assuming this behavior to be idiosyncratic, the experts consequently failed to recognize its common basis. But stylistic versatility is in fact often a characteristic of conceptual innovators whose ability to solve specific problems can free them to pursue new goals. This contrasts sharply with the practice of experimental artists, whose inability to achieve their goals often ties them to a single style for an entire career. The phenomenon of the conceptual innovator who produces diverse innovations is an important and new feature of twentieth-century art; Picasso was the prototype, and he has been followed by a series of others, from Marcel Duchamp and Francis Picabia to Bruce Nauman and Damien Hirst. Versatility has furthermore been a characteristic not only of modern painters but also of conceptual innovators in other arts, and of conceptual scholars. Recognizing the common basis of this behavior deepens our understanding not only of twentieth-century art but also of human creativity more generally, for it adds a dimension to the contrast between conceptual and experimental innovators.     

Doreen Finneron and Adam Dinham (eds.), Building on Faith: Faith Buildings in Neighbourhood Renewal

Abstract

This article responds to Adam Kotsko's counter-positioning of Thomist-Milbankian hierarchy on the one hand and Deleuzian-Surinian univocity on the other as competing visions for an ontologically grounded universal socialism. Pointing to Milbank's declaration that it would be "ridiculous" to debate Christianity's universality, Rubenstein raises suspicion about the ethical and political value of universality as such. Ultimately, she points to Jean-Luc Nancy's notion of "sharing" as a means of relating existents that neither reconsolidates a static hierarchy nor abolishes transcendence. Rather, sharing "shares beings out," clearing a space for genuine debate among those who are essentially different.     

A Review of “Cultures of the Erotic in Spain, 1898–1939, and A Virtual Wunderkammer: Early Twentieth Century Erotica in Spain”

Abstract

Christopher Rivers. Face Value: Physiognomical Thought and the Legible Body in Marivaux, Lavater, Balzac, Gautier, and Zola. The University of Wisconsin Press, 1994. xii + 275 pp.

Brian T. Fitch. The Fall: A Matter of Guilt. (Twayne's Masterwork Studies.) New York: Twayne Publishers, 1995. xii + 136 pp.     

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.     

Capital Shares: The Way Back into the With of Christianity

Abstract

In the ten years since the publication of Michael Hardt's and Antonio Negri's Empire, the relationship between Christianity and global capital has received increasing theological attention among the adherents, critics, sympathizersssa, and apostates of Radical Orthodoxy. At stake in this conversation is the possibility that Christianity might provide a universal ontology sufficient to ground a counter-hegemonic, specifically socialist, praxis. One question that many of these authors rarely address, however, is the extent to which Christian universalism has been responsible for the emergence of global capital in the first place. This article will address this profound split at the heart of a tradition; that is, Christianity's culpability for and resistance to global capital. To this end, "Capital Shares" sketches the aporia of Christianity's relation to Empire and then appeals to Jean-Luc Nancy's "deconstruction of Christianity"; in particular, his attempt to find "a source of Christianity, more original than Christianity itself, that might provoke another possibility to arise."