Jan Westerhoff
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195375213
- eISBN:
- 9780199871360
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195375213.001.0001
- Subject:
- Religion, Buddhism
This book contains a discussion of thought of the 2nd-century Indian Buddhist philosophy Nāgārjuna, the founder of the ‘Middle Way’ (Madhyamaka) school of Buddhist thought. The discussion is based on ...
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This book contains a discussion of thought of the 2nd-century Indian Buddhist philosophy Nāgārjuna, the founder of the ‘Middle Way’ (Madhyamaka) school of Buddhist thought. The discussion is based on Nāgārjuna’s main philosophical works preserved either in the original Sanskrit or in Tibetan translation. It offers a synoptic presentation of the main philosophical topics Nāgārjuna investigates, focusing on the central notion of emptiness (sūnyatā). Particular emphasis is put on an analysis of the philosophical content of Nāgārjuna’s Madhyamaka. Apart from discussing the soundness of Nāgārjuna’s arguments for particular conclusions the book also examines to which extent Nāgārjuna’s philosophy forms a coherent philosophical system rather than a collection of individual ideas.Less
This book contains a discussion of thought of the 2nd-century Indian Buddhist philosophy Nāgārjuna, the founder of the ‘Middle Way’ (Madhyamaka) school of Buddhist thought. The discussion is based on Nāgārjuna’s main philosophical works preserved either in the original Sanskrit or in Tibetan translation. It offers a synoptic presentation of the main philosophical topics Nāgārjuna investigates, focusing on the central notion of emptiness (sūnyatā). Particular emphasis is put on an analysis of the philosophical content of Nāgārjuna’s Madhyamaka. Apart from discussing the soundness of Nāgārjuna’s arguments for particular conclusions the book also examines to which extent Nāgārjuna’s philosophy forms a coherent philosophical system rather than a collection of individual ideas.
Matilde Nardelli
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781474444040
- eISBN:
- 9781474490573
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474444040.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter considers how the trope of cinematic purity attached to Antonioni’s 1960s films is intertwined with another persistent critical trope: that he approaches cinema like a painter. Yet, this ...
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This chapter considers how the trope of cinematic purity attached to Antonioni’s 1960s films is intertwined with another persistent critical trope: that he approaches cinema like a painter. Yet, this chapter argue that despite still dominant paradigms of pictorial purity, Antonioni approached painting not only as a concrete, material activity in which he himself was engaged, but also as a category that, around the mid-twentieth century, was itself in profound transformation and often ostentatiously ‘impure’. Impure pictoriality provided Antonioni with the conceptual means to renew, rather than purify, cinema, through an exchange with a form already contaminated by cinema and other forms of mass media culture.Less
This chapter considers how the trope of cinematic purity attached to Antonioni’s 1960s films is intertwined with another persistent critical trope: that he approaches cinema like a painter. Yet, this chapter argue that despite still dominant paradigms of pictorial purity, Antonioni approached painting not only as a concrete, material activity in which he himself was engaged, but also as a category that, around the mid-twentieth century, was itself in profound transformation and often ostentatiously ‘impure’. Impure pictoriality provided Antonioni with the conceptual means to renew, rather than purify, cinema, through an exchange with a form already contaminated by cinema and other forms of mass media culture.
Ariel Glucklich
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780300212099
- eISBN:
- 9780300231373
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300212099.003.0002
- Subject:
- Sociology, Sociology of Religion
The topic of religious experience is explored in its academic setting and a number of Neot Smadar conversations are discussed in detail. The chapter shows that the concept of emptiness plays a major ...
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The topic of religious experience is explored in its academic setting and a number of Neot Smadar conversations are discussed in detail. The chapter shows that the concept of emptiness plays a major role in how religious experience figures in Neot Smadar.Less
The topic of religious experience is explored in its academic setting and a number of Neot Smadar conversations are discussed in detail. The chapter shows that the concept of emptiness plays a major role in how religious experience figures in Neot Smadar.
José María Yturralde and Adolfo Plasencia
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780262036016
- eISBN:
- 9780262339308
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036016.003.0033
- Subject:
- Society and Culture, Technology and Society
In this dialogue, which is also the epilogue of the book, the artist José María Yturralde, holds a conversation with the author in eight parts: In 1. He reflects on MIT, Art and Science; 2. He ...
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In this dialogue, which is also the epilogue of the book, the artist José María Yturralde, holds a conversation with the author in eight parts: In 1. He reflects on MIT, Art and Science; 2. He considers geometry and its absence; 3. He makes a moving reflection on the metaphysics of art and Mark Rothko; 4. He argues the veracity of the equation "Beauty ≠ truth" and whether the great poet Keats’ idea can be denied; 5. Yturralde expounds his arguments about the “Order versus chaos" dichotomy; 6. He answers the question of whether a painting can change the past, or contains regret; 7. The artist outlines his philosophy on the "void" (voidness), the “nothing” (nothingness), and “emptiness”, which are central concepts in all his works; and lastly, in 8, Yturralde reflects on science, art and scientific reductionism, and argues why art and science need each other.Less
In this dialogue, which is also the epilogue of the book, the artist José María Yturralde, holds a conversation with the author in eight parts: In 1. He reflects on MIT, Art and Science; 2. He considers geometry and its absence; 3. He makes a moving reflection on the metaphysics of art and Mark Rothko; 4. He argues the veracity of the equation "Beauty ≠ truth" and whether the great poet Keats’ idea can be denied; 5. Yturralde expounds his arguments about the “Order versus chaos" dichotomy; 6. He answers the question of whether a painting can change the past, or contains regret; 7. The artist outlines his philosophy on the "void" (voidness), the “nothing” (nothingness), and “emptiness”, which are central concepts in all his works; and lastly, in 8, Yturralde reflects on science, art and scientific reductionism, and argues why art and science need each other.
S. Mark Heim
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9780823281244
- eISBN:
- 9780823285990
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823281244.003.0008
- Subject:
- Religion, Theology
A brief conclusion reviews and summarizes the content of prior chapters. It affirms the three main points of the study: that Christian learning from the bodhisattva path will involve 1) developing a ...
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A brief conclusion reviews and summarizes the content of prior chapters. It affirms the three main points of the study: that Christian learning from the bodhisattva path will involve 1) developing a “no-self” dimension in the understanding of theological anthropology, 2) recognizing an unvarying nondual dimension of divine immanence in the world, and 3) appreciating that both of these are constituent dimensions in Christ’s incarnation and in human redemption.Less
A brief conclusion reviews and summarizes the content of prior chapters. It affirms the three main points of the study: that Christian learning from the bodhisattva path will involve 1) developing a “no-self” dimension in the understanding of theological anthropology, 2) recognizing an unvarying nondual dimension of divine immanence in the world, and 3) appreciating that both of these are constituent dimensions in Christ’s incarnation and in human redemption.
Samia Khatun
- Published in print:
- 2019
- Published Online:
- February 2020
- ISBN:
- 9780190922603
- eISBN:
- 9780190055943
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190922603.003.0004
- Subject:
- Sociology, Race and Ethnicity
In Chapter 4 I follow the trail that the very first South Asian camel drivers traced inland to Beltana—a hilly region in Kuyani lands where the first Australian camel depot was established. From the ...
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In Chapter 4 I follow the trail that the very first South Asian camel drivers traced inland to Beltana—a hilly region in Kuyani lands where the first Australian camel depot was established. From the 1860s, Beltana emerged as a transportation hub atop an existing, cosmopolitan center of Aboriginal trade. Telling the history of the settlers and the Aboriginal groups who gathered in Beltana in the evening in 1885 when the very first steam train was due, I piece together the contours of the contested epistemic terrain onto which South Asians led the earliest camels. Contrasting the logic that belied English accounts of the train, with accounts of Beltana in Wangkangurru and Kuyani – two of the many Aboriginal languages spoken in the region – this chapter challenges the imperial myth of emptiness that shaped how settlers saw the lands they invaded.Less
In Chapter 4 I follow the trail that the very first South Asian camel drivers traced inland to Beltana—a hilly region in Kuyani lands where the first Australian camel depot was established. From the 1860s, Beltana emerged as a transportation hub atop an existing, cosmopolitan center of Aboriginal trade. Telling the history of the settlers and the Aboriginal groups who gathered in Beltana in the evening in 1885 when the very first steam train was due, I piece together the contours of the contested epistemic terrain onto which South Asians led the earliest camels. Contrasting the logic that belied English accounts of the train, with accounts of Beltana in Wangkangurru and Kuyani – two of the many Aboriginal languages spoken in the region – this chapter challenges the imperial myth of emptiness that shaped how settlers saw the lands they invaded.
Shannon Craigo-Snell
- Published in print:
- 2014
- Published Online:
- June 2014
- ISBN:
- 9780199827923
- eISBN:
- 9780199373680
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199827923.003.0006
- Subject:
- Religion, Religion and Society
Finally, chapter 5 brings together Karl Barth and Peter Brook to consider the possible problems of theatrical and performative views of church, and to develop an understanding of emptiness as ...
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Finally, chapter 5 brings together Karl Barth and Peter Brook to consider the possible problems of theatrical and performative views of church, and to develop an understanding of emptiness as necessary to worship that longs for the Spirit of God. The performance of church occurs in hope of the Spirit. Our performances cannot control the Spirit, but rather help us to be open and attuned to the Spirit’s presence and movement. Through a discipline of emptiness, we clear away the No-Gods of our own creation, repent of our arrogance, and hope for something far more than our own strivings. We hope to be taken up, to be allowed in on the action, to participate in the movement of the Spirit.Less
Finally, chapter 5 brings together Karl Barth and Peter Brook to consider the possible problems of theatrical and performative views of church, and to develop an understanding of emptiness as necessary to worship that longs for the Spirit of God. The performance of church occurs in hope of the Spirit. Our performances cannot control the Spirit, but rather help us to be open and attuned to the Spirit’s presence and movement. Through a discipline of emptiness, we clear away the No-Gods of our own creation, repent of our arrogance, and hope for something far more than our own strivings. We hope to be taken up, to be allowed in on the action, to participate in the movement of the Spirit.
