1,099 research outputs found
John Barth
No full textJohn Barth visited The College at Brockport in December 1976. He is postmodernist writer of metafictional fiction.Archived web contentSUNY BrockportWriters Forum Author Photo
"A Supertemporal Continuum": Christocentric Trinity and the Dialectical Reenvisioning of Divine Freedom in Bulgakov and Barth
No full textThis is the author accepted manuscript. The final version is available from Fortress Press via the link in this record.The diaspora of scholars exiled from Russia in 1922 offered something vital for both Russian Orthodoxy and for ecumenical dialogue. Under new conditions, liberated from scholastic academic discourse, and living and writing in new languages, the scholars set out to reinterpret their traditions and to introduce Russian Orthodoxy to the West. Yet, relatively few have considered the works of these exiles, particularly insofar as they act as critical and constructive conversation partners. This project expands upon the relatively limited conversation between such thinkers with the most significant Protestant theologian of the last century, Karl Barth. Through the topic and in the spirit of sobornost, this project charters such conversation. The body of Russian theological scholarship guided by sobornost challenges Barth, helping us to draw out necessary criticism while leading us toward unexpected insight, and vice versa. Going forward, this volume demonstrates that there is space not only for disagreement and criticism, but also for constructive theological dialogue that generates novel and creative scholarship. Accordingly, this collection will not only illuminate but also stimulate interesting and important discussions for those engaged in the study of Karl Barth’s corpus, in the Orthodox tradition, and in the ecumenical discourse between East and West
A Study of characterization and representation in James Joyce's a portrait of the artist as a young man and John barth's lost, in the funhouse
No full textDissetação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoAnálise da caracterização e da representação do artista nos romances A Portrait of the Artist as a Young Man de James Joyce e Lost in the Funhouse de John Barth. A análise destes romances quanto às diferenças existentes no modo de representação do artista, faz com que eles possam ser lidos, respectivamente, como representantes das narrativas modernista e pós-modernista
Barth, Bell, and Hell
No full textKees van der Kooi is an expert on modern Christian theology with special interests in the legacy of John Calvin and the work of Karl Barth. Among his many publications is As in a Mirror: John Calvin and Karl Barth on Knowing God, A Diptych (Leiden 2005). In this lecture he will evaluate the controversial book Love Wins by Grand Rapids pastor-author Rob Bell according to the view of universal salvation expounded by the Swiss Reformed theologian Karl Barth, the foremost theologian of the 20th century. Professor van der Kooi is the Director of the Center of Evangelical and Reformation Theology at the VU-University, Amsterdam
Barth and Hegel
No full textKarl Barth was both appreciative and critical of G.W.F. Hegel. In this chapter, the author argues that Barth's theological instincts obstruct his appreciation for some of Hegel's key philosophical insights – insights to which Barth himself draws attention. Without defending Hegel's theological project, he also demonstrates that Hegel and Barth were in key respects asking different questions and indeed questions of quite different kinds. If one poses Barth's questions and gives Hegel's answers, one has indeed a monstrous theology; but equally to pose Hegel's questions and give Barth's answers yields an impoverished philosophy. Correcting Barth's errors may thus shed some light on the distinction between theology and philosophy. To read Barth on Hegel is, for the expert on Hegel, to experience an almost irresistible urge to dismiss the Swiss theologian for unsupported and insupportable claims about his German forebear
#01-06 the phygital
No full textDuring an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva.
Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it).
Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above.
Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work.
In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup).
The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.).
How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions.
Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue.
What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects.
In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t?
Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter.
The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies
EXPERIMENTAL diary/DIARY experiment
No full text1 cover_descriptor, 6 flyers (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.During an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the co-author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva.
Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it).
Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above.
Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work.
In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup).
The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.).
How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions.
Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue.
What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects.
In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t?
Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter.
The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies.draf
O jovem Barth como leitor de Dostoievski
No full textThis article aims to analizes the presence of Dostoievski's religious insights in the theological writing of
the young Barth. We tried to demonstrate the key elements of his theological career and, especially, his
contact with Eduardo Thurnysen, author of a book on Dostoievski, who exercised a decisive influence on
the hermeneutical horizon that shaped the theological posture of Romerbrief's Barth - a work that
established a negativity that desconstructed all religious euphoria of modern humanism. We assumed
that Dostoyevsky has determined a religious intelligenstsia of Christianity in proportions rarely made
explicit. The work of the young Barth represented part of a theological reflection which found in the
Russian author the foundations of a tragic Christianity that has emancipated Barth from illusions of a
modern and ecclesiastical self-idolatryO artigo quer avaliar a presença das intuições religiosas de Dostoievski na escritura teológica do jovem
Barth. Procuramos demonstrar os elementos fundamentais de sua trajetória teológica e, sobretudo, seu
contato com Eduard Thurnysen, autor de uma obra sobre Dostoiévski, que exerceu uma influência
determinante no horizonte hermenêutico que deu forma à postura teológica do Barth de Römerbrief,
obra que instaurou uma negatividade desconstrutora de toda euforia religiosa do humanismo moderno.
Partimos do pressuposto que Dostoievski determinou a intelligentsia religiosa do cristianismo em
proporções pouco explicitadas, e a obra do jovem Barth representou parte de uma reflexão teológica
que encontrou no autor russo os fundamentos de um cristianismo trágico que emancipou-se das ilusões
de uma auto-idolatria moderna e eclesiástica
O jovem Barth como leitor de Dostoievski
No full textO artigo quer avaliar a presença das intuições religiosas de Dostoievski na escritura teológica do jovem Barth. Procuramos demonstrar os elementos fundamentais de sua trajetória teológica e, sobretudo, seu contato com Eduard Thurnysen, autor de uma obra sobre Dostoiévski, que exerceu uma influência determinante no horizonte hermenêutico que deu forma à postura teológica do Barth de Römerbrief, obra que instaurou uma negatividade desconstrutora de toda euforia religiosa do humanismo moderno. Partimos do pressuposto que Dostoievski determinou a intelligentsia religiosa do cristianismo em proporções pouco explicitadas, e a obra do jovem Barth representou parte de uma reflexão teológica que encontrou no autor russo os fundamentos de um cristianismo trágico que emancipou-se das ilusões de uma auto-idolatria moderna e eclesiástica.Palavras-chave: Dostoiévski. Barth. Humanismo. Negatividade. Niilismo. AbstractThis article aims to analizes the presence of Dostoievski's religious insights in the theological writing of the young Barth. We tried to demonstrate the key elements of his theological career and, especially, his contact with Eduardo Thurnysen, author of a book on Dostoievski, who exercised a decisive influence on the hermeneutical horizon that shaped the theological posture of Romerbrief's Barth - a work that established a negativity that desconstructed all religious euphoria of modern humanism. We assumed that Dostoyevsky has determined a religious intelligenstsia of Christianity in proportions rarely made explicit. The work of the young Barth represented part of a theological reflection which found in the Russian author the foundations of a tragic Christianity that has emancipated Barth from illusions of a modern and ecclesiastical self-idolatryKeywords: Dostoievsky. Barth. Humanism. Negativity. Nihilism.
Barth and Schleiermacher: Beyond the Impasse?
No full textJohn E. Thiel is a contributing author, Barth\u27s Early Interpretation of Schleiermacher, Chapter 1, pp. 11-22.https://digitalcommons.fairfield.edu/religiousstudies-books/1111/thumbnail.jp
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