In his early twenties, Miles Goodwin composed several poems as he explored life, sexuality, religion, and what it means to begin to find yourself in the vastness of the universe. Powerful verses breathe into life a period in time where adulthood is here, yet you cling to the nature of your past, and discover place and purpose in the process. About the Author Miles Goodwin works as a music journalist. In his off-time, he loves going to beach, consuming copious amounts of coffee, and spending time with his partner and two dogs.
"Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance examines the notion of stillness as both a performative and visual gesture, featuring practitioners who have constructed static or near-static experiments that hover somewhere between action and representation as they are experienced in the gallery space. The exhibition investigates performance from the perspective of the object rather than the body, examining how performance has reinterpreted traditional artistic media. Stillness and permanence are qualities typically seen as inherent to painting and sculpture-consider the frozen gestures of a historical tableau or the unyielding solidity of a bronze figure. The Paradox of Stillness, however, expands the artwork's quality of stillness to accommodate uncertain temporalities and physical states, investigating works that merge objects with human bodies suspended in motion. Featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of painting or sculpture than to true staged action, The Paradox of Stillness rethinks the history of performance through its aesthetic investigations into the interplay of the fixed image and the live body"--
An introduction to paradoxes showing that they are more than mere puzzles but can prompt new ways of thinking. Thinkers have been fascinated by paradox since long before Aristotle grappled with Zeno's. In this volume in The MIT Press Essential Knowledge series, Margaret Cuonzo explores paradoxes and the strategies used to solve them. She finds that paradoxes are more than mere puzzles but can prompt new ways of thinking. A paradox can be defined as a set of mutually inconsistent claims, each of which seems true. Paradoxes emerge not just in salons and ivory towers but in everyday life. (An Internet search for “paradox” brings forth a picture of an ashtray with a “no smoking” symbol inscribed on it.) Proposing solutions, Cuonzo writes, is a natural response to paradoxes. She invites us to rethink paradoxes by focusing on strategies for solving them, arguing that there is much to be learned from this, regardless of whether any of the more powerful paradoxes is even capable of solution. Cuonzo offers a catalog of paradox-solving strategies—including the Preemptive-Strike (questioning the paradox itself), the Odd-Guy-Out (calling one of the assumptions into question), and the You-Can't-Get-There-from-Here (denying the validity of the reasoning). She argues that certain types of solutions work better in some contexts than others, and that as paradoxicality increases, the success of certain strategies grows more unlikely. Cuonzo shows that the processes of paradox generation and solution proposal are interesting and important ones. Discovering a paradox leads to advances in knowledge: new science often stems from attempts to solve paradoxes, and the concepts used in the new sciences lead to new paradoxes. As Niels Bohr wrote, “How wonderful that we have met with a paradox. Now we have some hope of making progress.”
Radical Orthodoxy, whose founding father is John Milbank, claims that God has been pushed to the margins in modernity and that a false and misleading neo-theology has taken hold that needs to be revisited and contested. It is this return to the premodern that often leads theologians to have reservations about Radical Orthodoxy when they might otherwise have some sympathy for many of its positions. Radical Orthodoxy, like most traditional theology, claims that the power of God is in all creation and that God sits everywhere for all to partake of. But there appears to be a failure to see that the church and theology do not set in place systems that live out this basic assumption. Liberation theology, while sharing much of the same assumption that God is everywhere and to be shared, at the same time engages in a critique of the structures that claim to facilitate this vision, and finds them wanting. From here, then, liberation theologians attempt to refigure our understanding of shared power in order to broaden the vision, while it may be argued that Radical Orthodoxy simply restates the assumption with little political critique of the issues. Perhaps this point explains why this book is titled The Poverty of Radical Orthodoxy rather than Radical Error!
Paradoxes have become characteristic of the world we live in - poverty and privilege, empire and oppression, migration and enclaveseeking, war and peace, justice and injustice, reconciliation and revenge. During the 2016 Societas Homiletica annual conference held in South Africa, these paradoxes served as a rediscovery of the calling of preachers to deliver the promise that lies within life's contradictions. A divine promise brought forth by the grace of God and the gospel of Christ - embodied in and through us by the Spirit of Christ. This promise may take many forms and calls for discernment and often interrupts the status quos in surprising, shocking ways. It is a promise that interrupts, in order to comfort.
Paradox informs the narrative sequence, images, and rhetorical tactics contrived by skilled dramatists and novelists. Their literary languages depict not only a war between rivals but also simultaneous affirmation and negation voiced by a tragic individual. They reveal the treason, flux, and duplicity brought into play by an unrelenting drive for respect. Their patterns of speech, action, and image project a convergence of polarities, the convergence of integrity and radical change, of constancy and infidelity. A fanatical drive to fulfill a traditional code of masculine conduct produces the ironic consequence of de-forming that code—the tragic paradox. Tragic literature exploits irony. In Athenian and Shakespearean tragedy, self-righteous male or female aristocrats instigate their own disgrace, shame, and guilt, an un-expected diminishment. They are victimized by a magnificent obsession, a fantasy of un-alloyed authority or virtue, a dream of perfect self-sufficiency or trust. The authors of tragedy revised the concept of “nobility” to reflect the strange fact that grandeur elicits its own annulment. “Strengths by strengths do fail,” Shakespeare wrote in Coriolanus. The playwrights made this paradoxical predicament concrete with a narrative format that equates self-assertion with self-detraction, images that revolve between incredible reversals and provisional reinstatements, and speech that sounds impressively weighty but masks deception, disloyalty, cynicism, and insecurity. Three heroic philosophers, Plato, Hegel, and Nietzsche, contributed invaluable but contrasting accounts of these literary languages (Aristotle's Poetics will be discussed in connection with Plato's attitude toward poetry). Their divergent descriptions can be reconciled to show that invalidations as well as affirmations—the transmission of contraries—are essential for tragic composition. An equivocal rhetoric, a mutable imagery, and an ironic progression convey the tortuous pursuit of personal preeminence or (in later tragic works by Kafka and Strindberg) family solidarity and communal safety. I am trying to integrate the disparate arguments offered by several notable theorists with technical procedures fashioned by the Athenian dramatists and recast by Shakespeare and other writers, procedures that articulate the tragic paradox.
Evans (philosophy, U. of Toronto) discusses spirituality and depth psychology being open and closed, loving oneself, sexuality, and therapy; and spirituality in connection with skepticism positivism and the paranormal, positivism and the genuinely spiritual; ethics mystical humanism and morality, go
In 'Ontological Catastrophe: }i~ek and the Paradoxical Metaphysics of German Idealism', Joseph Carew delves deep into the complex interplay between Slavoj }i~ek's philosophy and the metaphysical propositions of German Idealism. Carew's book meticulously examines }i~ek's unique blend of psychoanalysis, Marxism, and continental philosophy, offering insightful analyses of the paradoxes inherent in German Idealist thought. Carew's writing is erudite and densely packed with references to key philosophical texts, making this book essential reading for anyone interested in contemporary continental philosophy and its intersections with psychoanalysis. Carew's ability to navigate through }i~ek's intricate ideas while situating them within the broader context of German Idealism showcases his deep understanding of both philosophical traditions. Joseph Carew, a respected scholar in the field of continental philosophy, brings his expertise to this groundbreaking work, shedding new light on the philosophical implications of }i~ek's theories and their connection to German Idealism. 'Ontological Catastrophe' is a must-read for philosophers, academics, and students seeking to explore the complexities of contemporary philosophy through the lens of }i~ek and German Idealism.
Contributing to the debate about D. H. Lawrence's relationship with and fictional portrayal of women, this book discusses how the dynamic tensions of his art dramatically reenact the competing forces of psychic and relational life. In her examination of Sons and Lovers, The Rainbow, Women in Love, and various short stories, Schapiro discusses how Lawrence's best works reveal a continual struggle to recognize and be recognized by the other as an independent subject. Drawing on Jessica Benjamin's psychoanalytic theory of intersubjectivity, she also demonstrates how a breakdown of balanced subject-subject relations in his texts gives rise to defensive polarities of gender and of domination and submission.
