THE REVOLUTIONARY VISION OF WILLIAM BLAKE

It was William Blake's insight that the Christian churches, by inverting the Incarnation and the dialectical vision of Paul, have repressed the body, divided God from creation, substituted judgment for grace, and repudiated imagination, compassion, and the original apocalyptic faith of early Christianity. Blake's prophetic poetry thus contributes to the renewal of Christian ethics by a process of subversion and negation of Christian moral, ecclesiastical, and theological traditions, which are recognized precisely as inversions of Jesus, and therefore as instances of the forms of evil that God-in-Christ overcomes through Incarnation, reversing the Fall. Blake's great epic poems, particularly Milton (1804–08) and Jerusalem (1804–20), embody his heterodox representation of the final coincidence of Christ and Satan through which, at last, all things are made new.     

"I WALK WEEPING IN PANGS OF A MOTHERS TORMENT FOR HER CHILDREN": Women's Laments in the Poetry and Prophecies of William Blake

Cross-cultural scholarship in ritual studies on women's laments provides us with a fresh vantage point from which to consider the function of women and women's complaining voices in the epic poems of William Blake. In this essay, I interpret Thel, Oothoon, and Enitharmon as strong voices of experience that unleash some of Blake's most profound meditations on social, sexual, individual, and institutional forms of violence and injustice, offering what might aptly be called an ethics of witness. Tracing the performative function of Enion, Jerusalem, Vala, and Erin in Blake's later epics, The Four Zoas and Jerusalem , I argue for the close connection between the female laments and the possibility of redemption, though in Blake such "redemption" comes at the cost of the very voices of witness themselves.     

Freud's Little Oedipus: Hans as exception to the oedipal rule

Freud's "The Analysis of a Phobia in a Five-Year-Old Boy" is regarded by Freud and by analytic readers and commentators as a prototype of his conception of the oedipus complex. A literary methodology is used to show that the interpretation of the oedipus complex at work in Freud's text in fact differs from Freud's standard view of it. While studying the paper as text, not as case report, may obscure or distort some clinical matters, it is valuable in that it makes legible a sort of theoretical unconscious in the text. In contrast to Freud's typically tragic view of the oedipus complex (in the tradition of ancient Greek tragedy), the Hans study evokes a comic vision (in the tradition of Greek New Comedy). This comic vision allows Hans a happy imaginative ending to the oedipal dilemma, challenges certain epistemic pretensions, and emphasizes the oedipus complex as a set of abiding existential questions. Given the deep link between Freud"s oedipus concept and a tragic view of human life, this departure in the Hans paper is a fascinating anomaly.     

Clinical conversations between psychoanalysis and imaginative literature

A literary form created by an imaginative writer captures something of the way the author shapes emotional experience and psychologically engages with it. The manner in which experience is created and contained in an imaginative literary text has much in common with the way experience is generated and worked with in the psychoanalytic situation. The author describes a clinical experience in which there was a collapse of the analytic (imaginative) space. He then discusses how he made use of a "conversation" he created with a short story and his own analytic experience to restore his imaginative capacities and to resume psychological work with the patient.     

Troublesome Sentiments: The Origins of Dewey’s Antipathy to Children’s Imaginative Activities

One of the interesting aspects of Dewey’s early educational thought is his apparent hostility toward children’s imaginative pursuits, yet the question of why this antipathy exists remains unanswered. As will become clear, Dewey’s hostility towards imaginative activities stemmed from a broad variety of concerns. In some of his earliest work, Dewey adopted a set of anti-Romantic criticisms and used these concerns to attack what one might call “runaway” imaginative and emotional tendencies. Then, in his early educational writings, these earlier concerns were augmented by several other factors, including problematic trends in progressive education, new developments in psychology, and Dewey’s own educational aims. This analysis explores the roots of these criticisms, and explains how they culminate in the stance on the imagination that Dewey eventually outlined in the early educational writings. Notably, these findings have some important implications for certain prominent contemporary critics of progressivism.     

OF EAGLES AND CROWS, LIONS AND OXEN: Blake and the Disruption of Ethics

Why focus on the work of William Blake in a journal dedicated to religious ethics? The question is neither trivial nor rhetorical. Blake's work is certainly not in anyone's canon of significant texts for the study of Christian or, more broadly, religious ethics. Yet Blake, however subversive his views, sought to lay out a Christian vision of the good, alternated between prophetic denunciations of the world's folly and harrowing laments over the wreck of the world's promise, and wrote poetry as if poetry might mend the world. Setting imagination against the calculations of reason and the comfort of custom, Blake's poems inspire questions about the relationship of ethics to prophecy, and open the possibility that ethics itself would be markedly enriched could it find a place for what Thomas J. J. Altizer has called Christian epic poetry.     

A dual systems theory of incontinent action

In philosophy of action, we typically aim to explain action by appealing to conative attitudes whose contents are either logically consistent propositions or can be rendered as such. Call this “the logical criterion.” This is especially difficult to do with clear-minded, intentional incontinence since we have to explain how two judgments can have non-contradicting contents yet still aim at contradictory outcomes. Davidson devises an innovative way of doing this but compromises his ability to explain how our better judgments can cause our continent behaviors. In this essay, I preserve Davidson’s approach to the logical criterion but deviate from his broader theory of action by developing a default-interventionist dual systems theory of action. To do this, I focus on the dynamical relationship between System 1 and System 2: (1) the logical construction of value judgments in System 2 from System 1 and (2) the imaginative construction of non-propositional conative attitudes in System 1 from System 2. I draw on Street’s Humean constructivism and Peacocke’s theory of imagination for logical and imaginative construction, respectively. Within this framework, I provide a new definition of continence and incontinence that satisfies the logical criterion and explains how our better judgments can cause our continent behaviors.     

Cultivating the Arts of Inquiry, Interpretation, and Criticism: A Peircean Approach to our Educational Practices

Peirce was a thinker who claimed that his mind had been thoroughly formed by his rigorous training in the natural sciences. But he was also the author who proclaimed that nothing is truer than true poetry. In making the case for Peirce’s relevance to issues of education, then, it is necessary to do justice to the multifaceted character of his philosophical genius, in particular, to the experimentalist cast of his mind and his profound appreciation for the aesthetic, the imaginative, and (more narrowly) the metaphorical in their myriad guises. My aim in this paper is to go some distance, however small, toward doing such justice to Peirce.     

The advantages,shortcomings, and existential issues of Zhuangzi’s use of images

Zhuangzi is considered a creative poet-philosopher because of his use of imaginative images. He used the imaginative images of his system to construct the world of the Dao. He left the essence of material things as they are to speak for the mystery of existence itself, and let them express both the state of and the dream for human freedom. Zhuangzi’s way of using images shows his own lack of the understanding about images, and his lack of adequate assessments. He used images in accord with his own personal preferences and fixed characteristics. He also had a tendency to equate the Dao which he experienced in his mind with the Dao itself. These shortcomings limit his improving and understanding of the Dao, so that his Dao failed to become more open to a wider existence.     

Creative Organizational Vision Building Through Collaborative,Visual-Metaphorical Thought

An organization needs a strong, compelling vision of its future in today's complex, unpredictable socioeconomic environment. A college faculty recently used collaborative metaphorical discussions, mind mapping, and imaginative visual thinking to produce an unusual, idealistic vision of the college's future. This vision took the form of a fanciful metaphorical drawing, which was surrounded by an elaborate mind map and accompanied by a story that connects the symbolism in the drawing with the processes and products of the college. This unique initiative clarified connections between the everyday work of college personnel and their vision of an attainable, optimistic future.     

Art in support of life: Caravaggio and the plague

In the struggle with COVID-19, art offered a way to face the solitude of the lockdown. The focus of this paper is primarily on Caravaggio’s painting The Seven Works of Mercy, with references to other paintings to amplify some aspects of the artist’s approach to life and his uniqueness in the artistic landscape of his time. Darkness was part of Caravaggio’s research for spiritual truth and by entering the stories of his life and exploring the tales told through imaginative expression in his paintings, it is possible to understand his process of exploration of ancestral darkness. The author uses her imagination to reflect on how art can help to contact the profound fears buried in the unconscious which are now being awakened by the pandemic. The contemplation of this painting facilitated the emergence of emotions related to the darkness of our time, with the discovery that empathy and mercy offer a way to come to terms with the pandemic. This approach demands a different understanding of reality with Caravaggio’s dark creative world becoming a companion that permits the exploration of what is not yet thinkable in daily life. Images accompany the author’s research that relies on her imagination and amplifications.     

How Charity Transcends the Culture Wars: Eugene Rogers and Others on Same-Sex Marriage

In 1994 the "Ramsey Colloquium," under the leadership of Richard John Neuhaus, posed a challenge to what it called the "homosexual movement" within the Christian Church. The challenge was to prove that it had reasons distinguishable from secular liberalism—reasons consistent with orthodox Christian theology—in favor of same-sex coupling. Eugene Rogers's book, Sexuality and the Christian Body: Their Way into the Triune God , can be read as a response to this challenge. The book is important not only for the content of its arguments, which are imaginative and theologically rigorous, but also for the exemplary way in which Rogers exhibits charity in his account of his conservative opponents. Rogers's recent anthology, Theology and Sexuality , provides additional evidence that a new, more promising debate is arising within the Church, a debate that has some hope of transcending the rhetoric of the culture wars.     

“What If” Dimensions of the Analytic Field: Imagination,Object Vitality,and Psychic Growth

This paper considers the role of imagination in the context of Bionian Field Theory. Expanding on Hanna Segal’s idea of “what if” dimensions of the analytic process, it is argued that “what if” states engage evocative and vital aspects of objects. They set up particular tensions in the analytic field that trigger “imaginative work.” The processes at work share many similarities with the artist’s creative process. For this reason, William Kentridge’s reflections on his own creative process are used to elucidate “imaginative work” as an esthetic, creative and agentive process. Three case fragments are used to illustrate some of these ideas in the clinical setting.     

Georg von Békésy: visualization of hearing

Georg von Békésy received the Nobel Prize in 1961 for his research on the functioning of the auditory system. In psychoacoustics, Békésy both extended and perfected the lines of research begun by von Helmholtz in the 19th century. First in his native Hungary and later at Harvard, Békésy used novel and imaginative devices and methods to observe and model the functioning of the inner ear. He also explored the nature of sensory inhibition by which the nervous system sharpens sensory transitions.     

心学视域下的易学——杨简易学思想初探

杨简作为心学解《易》派的代表,其易学思想是心学与易学相融合的产物。是一种心学视域下的易学．在杨简的心学体系中,心具有本体特征,它虚明灵妙,且存在于人自身;功夫论上既要讲求恢复本心,又不可强索而得．杨简以此心学视野去观照易学,将整个易学体系纳入其心学视域之中,并且注重阐发一些与心相关的易学观念,从而使其易学思想呈现出高度一元论的特征．当与经典结论不相兼容时,他又敢于怀疑经典,以保证其易学的圆融一致性．     

In defense of Joy: C. S. Lewis and psychoanalysis

The imaginative experience of Joy, as he calls it, was central to the career of C. S. Lewis: it informed his work as literary scholar, writer, and religious thinker. Cognizant that psychoanalytic concepts held implications for the meaning of this experience, Lewis offers a critical commentary on these implications and their presuppositions with regard to literary imagery. His commentary suggests possible conflicts between a view of humankind that is psychoanalytically-derived and one which is aesthetically informed.     

TIME FOR LOVE: The Place of Marriage and Children in the Thought of Stanley Hauerwas

In essays written throughout his career, Stanley Hauerwas has unfolded a Christian vision of the marriage bond and the presence of children that seeks insistently to place these seemingly natural bonds within the new family of God that is the church. I examine his understanding, aiming to appreciate the Christian vision displayed while also suggesting that his emphasis on the new thing God does in the church is sometimes allowed to absorb and thereby lose the distinctive significance of the created bonds of marriage and family.     

David Liberman's legacy

This article presents, in the author's own vision, his attempt to consider (and update) the work of an original thinker of contemporary psychoanalysis (in the present). Following a short overview of his biographical data and distinctive traits as maestro and man, it then tries to capture the implications and panoramic vision of Liberman's work, the prevailing questions and problems of psychoanalysis to which it responds. In the author's opinion this involves a serious attempt to systematize clinical psychoanalysis on the basis of singularity and of tolerance to human diversity, with the greatest precision and scientific rigour admitted by the psychoanalytic discipline – avoiding cliché on the one hand and what we might call the mystification of the Oracle on the other. The successive stages of Liberman's production are indicated in terms of the auxiliary disciplines (communication theory, semiotics and linguistics) which he used for his ever more precise systematization of clinical psychoanalysis finally leading to his proposals on ‘style’ and his vision of the psychopathology of over‐adaptation and psychosomatic instances. Other concepts which this paper highlights are: Liberman's conception of analytic dialogue as framed by human interaction; his theorization which stems from this particular empirical base making use of ‘operational definitions’ and ‘intermediary formulations’; his operational definition of transference; and the inclusion of setting inside the ‘analytic situation’.     

The emotionality of William Blake's poems: a quantitative comparison of Songs of Innocence with Songs of Experience

Analyses of the words contained in William Blake's Songs of Experience and Songs of Innocence with the new Dictionary of Affect, a tool listing the pleasantness, activation, and imagery of several thousand words, indicated that the Innocence poems were both more pleasant and more active than the Experience poems. On the whole, both sets of poems were richly imaged, rather pleasant in tone, and more emotional than both normative English and the work of Blake's Romantic contemporaries.