3. NATURE,RELIGION, AND IMAGINATION: COMMENTS ON IMAGES OF HISTORY

After sharing some reflections, I raise three questions. The first asks about the role of nature and reason according to Kant's teleological history, and the extent to which Kant's essays written before the Critique of the Power of Judgment (1790) are “dogmatic,” as his phrase “aim of nature” might suggest. The second asks about Kant's “impure” ethics and the role of religion. What would Kantian religion look like today? The last question concerns the relation between images and ideas—a thornier issue than Kant's initial definitions of imagination and reason would seem to suggest.     

The philosopher,the ordinary believer,and their piety: Spinoza’s philosophical religion

This paper explores the nature and working of Spinoza’s philosophical religion. In doing so, it critically engages with Carlos Fraenkel’s study of the tradition of philosophical religions and Spinoza’s place in it. Spinoza can be said to be part of this tradition because the relation of his philosophical conception of God to the conceptions of God of some popular religions (especially Christianity) can be construed as that of the universal versus the particular, in which the particular expresses something of the universal, in an inadequate yet more readily accessible way. The account of Spinoza’s philosophical religion provided is kindred to Fraenkel’s, but it also explicitly discusses a crucial issue which Fraenkel only sparingly addresses, viz. the question how we must envisage the transition from a confused, imaginary to a more rational conception of God. A related issue the paper addresses concerns the question whether – and, if so, how – the dogmas of the universal faith can be reinterpreted philosophically. These discussions underpin a critical assessment of Fraenkel’s claim that Spinoza’s philosophical religion project is, ultimately, flawed.     

Eavesdropper on the Past: John W. Burrow (1935–2009), Intellectual History and Its Future

Summary

Focused on the much-debated historiographical and academic status of intellectual history, this article addresses for the first time and in detail the methodological views of the British historian John Wyon Burrow (1935–2009). Making use both of his published works and of unpublished material left to the University of Sussex Library (including lectures, letters, academic projects and biographical sketches), its goal is to provide a thorough account of an original and eclectic intellectual historian and, at the same time, cast new light on the role of the discipline in the scholarly context of the last few decades in Europe and the US. More specifically, the following pages will illustrate Burrow's work and career, with particular attention being paid to his insistence on narrative, imagination, irony and style; present his writings as an original instance of the anti-methodological practice of intellectual history; and study his opinions of what it means to carry out the métier d'historien. Finally, by examining Burrow's idea of the intellectual historian as a creative ‘eavesdropper’ on the ‘conversations of the past’ and as a ‘translator’ of past dialogues, this article will both pose some central questions and advance some proposals concerning the future of intellectual history.     

The Conflict between Traditional Christian Churches in Ukraine as a Conflict of Identities: Where to Search for the Prospects of Reconciliation? A Reflection in the Light of the Theories of Paul Ricoeur and John Paul Lederach

Abstract

After the independence of Ukraine in 1991 there emerged or re-emerged four churches that derive their roots from ancient Kyiv Christianity. Those churches conflict with each other, the main cause of the split and tensions being the issue of cultural and social–political identities in the country. Such conflicting narrative identities have to be reconciled by the mutual recognition of their diversity when churches in Ukraine want to become a real force for transformation in society. Among the different models of the search for rapprochement in this article I refer to the theories of Paul Ricoeur and John Paul Lederach. According to the ethics of memory of Paul Ricoeur, traditional Ukrainian churches should abandon endless circles of melancholia about their losses and create new identities through the process of mourning. Because the tensions among traditional Christian denominations in Ukraine are not likely to be solved by institutional measures as history proves, churches should concentrate their efforts on working on social and relational platforms. Here I refer to the ethics of moral imagination of John Paul Lederach that envisions focusing the reconciliatory activities on locations of interaction between people that should finally contribute to the rapprochement.     

‘What remains? An empty doll-case’: Deconstruction and Imagination in Victorian Narratives of Doll Production

Increasing interest in the Victorians' relationships with the material world has led many critics to turn to periodical publications and, in particular, to process articles and other forms of industrial writing as sources for new insight. This article contributes to this growing body of scholarship by examining narratives of doll production. Because dolls are objects that Victorians celebrated for their imaginative potential and that were often not intended to be treated as ordinary commodities, such narratives can shed light on the intricate relationships between materiality and the imagination. In revealing the process of production, these narratives deconstruct dolls, reducing them to a collection of material parts. By some accounts, these parts are brought to life through a specialized process of manufacture that dehumanizes the workers who make them and robs them of their imaginative agency. While this deconstructive exploration can be seen as an extension of the ‘melancholy and gloom’ that Baudelaire describes as the result of children's destructive compulsion to see the insides of their toys, it could also generate new imaginative possibilities. By inviting readers to behold commodities in a state of transformation, I argue, narratives of doll production demand a more imaginative attitude towards commodities as objects shaped by their material histories.     

The Art of Wounded Hope: Forced Migration,Prophecy and Aesth/Ethics

ABSTRACT

This paper constructs an analogy between art and prophecy, exploring and comparing their relationship to political change. It does so through considering arts-based responses to the contemporary forced migration context in conversation with the book of Jeremiah. Recognizing that the artistic – in the case of Jeremiah, the poetic – can be an important means of resistance for those experiencing exile and injustice, this paper delineates two key ways in which visual arts, poetry, music and theater are playing a prophetic role in relation to migration today. First, the arts can generate prophetic revelation, helping people to see more clearly and truthfully the pain and suffering experienced by forced migrants. Second, the arts can enliven prophetic imagination, helping people to visualize creatively how a world-in-migration could be at its best by offering glimpses of oneness and hope. The paper concludes by pointing out some ambiguities involved in engaging with the arts as a means of prophecy.     

Heaney and education

Seamus Heaney inhabited the world of teacher education, as a student, and later as a lecturer, in 1960s Belfast. That world was infused by three ideas: learning as a journey, learning through play, and learning as construction. This article traces correspondences between these and thematic trends in Heaney’s work. It presents the case that Heaney’s writing reflects an informed understanding of children and of learning peculiar to the mind of a great teacher. Moreover, Heaney’s contribution to education is remarkable in that it transcends the school and the academy, and offers a creative vision in which poetry and learning are inextricably linked. As Heaney put it in Among Schoolchildren, the “walls of the world expand” as reader and writer, teacher and learner, poet and child “go beyond our normal cognitive bounds and sense a new element where we are not alien but liberated, more alive to ourselves, more drawn out, more educated”.     

VICO'S NEW SCIENCE AND A NEW POETIC PSYCHOLOGICAL SCIENCE

This review essay discusses Giambattista Vico and the New Psychological Science, which contains seven essays that challenge traditional anthropological, epistemological, and methodological assumptions that define psychology as a social science and instead interpret it as an embodied understanding of human cultural activity. The authors use Vico's New Science to support this endeavor because, they suggest, it traces the creation of human existence from a prehuman animal state with the agency of poiesis, an embodied meta‐phoric language and social practices that are inseparable from that language. This effort is a potentially transformative reinterpretation of Vico, whose verum factum principle scholars interpret as challenging Cartesian epistemology. Identifying the true with the made, Vico's principle limits human knowing to what humans make—that is, their historical world. The authors rightly emphasize the embodied nature of making with poetic language and social practices. However, they undermine the significance of that embodiment by assuming that knowing what is made with poiesis is, like traditional understandings of knowledge, epistemic. Thus, they implicitly retain humanism's metaphysical assumption that grounds epistemology: humans know intelligible reality because they are dualistic beings who possess rational, subjective natures. By contrast, I claim that Vico's poetic humanism is a more radical move from traditional humanism's belief in epistemology toward a culturally active anthropology. For Vico, bodily skills of perception, memory, and imagination create a metaphoric language based on random perceptions, images, and sounds. This metaphoric language is inseparable from social practices and physical skills, creating a meaningful human world. The making achieved by embodied poetic language cannot lead to epistemic knowledge; it can only lead to the self‐referential hermeneutic understanding that humans are the creators of their human existence. Vico's verum factum is not an epistemological principle in the Cartesian tradition but an ontological unity of knowing and making through sociophysical skills that are inseparable from poetic language. Humans make their ontologically real, meaningful human world and know themselves as its creators.     

博物馆中的南海知识生产与地理想象

地理想象是通过文化媒介对特定地方的地理“现实”的转录与重构,而博物馆是达成地理想象的一个代表性媒介。博物馆不只是一个展品陈列的空间载体,其中还包含着地理知识的生产。本文以南海博物馆为例,采用参与式观察、半结构式访谈、话语分析方法,探讨中国（海南）南海博物馆对“南海”的呈现。研究表明,南海博物馆对南海的地理想象不仅是话语建构,同时也是一种国家领土主权在话语层面上的实践。地名、地物、地图、地景是南海地理想象的构建基础,中国（海南）南海博物馆通过对“过去”资源的空间组织,构建了“南海”的地域想象、边界想象以及地缘想象。