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Books on the topic 'Image contemplative'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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1

Gallery, Vadehra Art, ed. Dhyanachitra: Contemplative images : paintings in watercolour. New Delhi: Vadehra Art Gallery, 2012.

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2

Speyr, Adrienne von. Light and images: Elements of contemplation. San Francisco: Ignatius Press, 2004.

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3

Lucas, Thomas M. Virtual vessels, mystical signs: Contemplating Mary's images in the Jesuit tradition. St. Louis, MO: Seminar on Jesuit Spirituality, 2003.

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4

Rutter, Thad. Where the heart longs to go: A new image for pastoral ministry. Nashville, TN: Upper Room Books, 1998.

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5

If today you hear God's voice: Biblical images of prayer for modern men and women. Kansas City, MO: Sheed & Ward, 1992.

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6

Weemes, John. The portraiture of the image of God in man, in his three estates, of [brace] creation, restauration, glorification: Digested into two parts, the first containing the image of God both in the body and soule of man, and immortality of both, with a description of the severall members of the body, and the two principall faculties of the soule, the vnderstanding and the will, in which consisteth his knowledge, and liberty of his will : the second containing the passions of man in the concupiscible and irascible part of the soule, his dominion over the creatures, also a description of his active and contemplative life, with his conjunct or married estate : whereunto is annexed an explication of sundry naturall and morall observations for the clearing of diverse Scriptures : all set downe by way of collation, and cleered by sundry distinctions, both out of the schoolemen and moderne writers. London: Printed by T.C. for Iohn Bellamie, and are to be sold at his shop at the signe of the Three Golden Lyons in Cornehill, neere the Royall Exchange, 1985.

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7

Tollefsen, Torstein Theodor. True Image or Idol of Deceit. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816775.003.0005.

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This chapter reaches the conclusion that it is possible to paint a true image of Christ. Theodore’s understanding of the Old Testament prohibitions of images is treated and the usefulness of material elements in order to present the essence of faith is discussed. The likeness that is the connecting link between the prototype and the image is again brought into focus. In this chapter the icon is seen as contributing to the Christian memory or recollection of the basics of faith. It is shown how the icon serves contemplation and that the veneration of the image and the prototype is one and the same.
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8

Beattie, Tina. The Theological Study of Gender. Edited by Adrian Thatcher. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199664153.013.33.

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This chapter traces the academic development of postmodern theology and gender studies, from the feminist theologies of the 1960s–1980s through the ‘linguistic turn’ to the emergence of the concept of ‘intersectionality’. Beattie argues that gender theory restores to theology the forgotten wisdom of its own tradition with regard to language and the interpretation of scripture. However, she cautions against the Manichaean seductions of postmodernism, arguing that the theology of gender must be rooted in the goodness of creation, including the human created male and female in the image of God. Analysing differences between Protestant and Catholic theologies in terms of grace and sacramentality, and with reference to Christian mysticism, she argues for a contemplative, sacramental theology of gender that is open to the divine mystery, animated by desire while remaining attentive to the distorting effects of sin on desire, and actively expressed in love of neighbour and of creation.
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9

Klement, Podnar, and Balmer John M. T, eds. Contemplating corporate marketing, identity and communication. New York, NY: Routledge, 2010.

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10

Balmer, John, and Klement Podnar. Contemplating Corporate Marketing, Identity and Communication. Taylor & Francis Group, 2016.

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11

Mays, J. C. C. Contemplation in Coleridge’s Poetry. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0002.

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Chapter 1 follows the ascent from the technical understanding of a poem and its processes toward a sense of ‘spiritual contemplation’. Slow-reading a short Coleridge poem, ‘First Advent of Love’, representing lifelong concerns, Mays describes the meditation involved in both reading and writing the poem. He contrasts such meditation with the different, analytical process involved in Coleridge’s prose writing. He reveals how in ‘First Advent’ feelings adjust through a web of sounds, images, and allusions (to neo-Platonic ideas about love mediated through Renaissance and contemporary German authors). Inquiry into what is most important in the poem involves the matter of how the poem works: a matter of ‘Understanding’. Mays then looks to higher, numinous qualities in the poem that go beyond the understanding, and are properly imaginative in terms of Coleridge’s diagram of the ‘Order of the Mental Powers’, mediating between ‘Understanding’ and ‘Reason’ in terms of enérgeia.
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12

Altman, Michael J. Heathen, Hindoo, Hindu. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654924.001.0001.

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In the eighteenth and nineteenth centuries, Americans did not write about Hinduism. They did write a lot about India, however. In their representations of India, American writers described “heathens,” “Hindoos,” and, eventually, “Hindus.” Before Americans wrote about “Hinduism,” they wrote about “heathenism,” “the religion of the Hindoos,” and “Brahmanism.” This book argues that Americans debated the nature of religion, sought alternatives to American Protestantism, and hailed the supremacy of white Protestant American identity through their representations of religion in India. Representations of India reflected debates about America. Americans used the heathen, Hindoo, and Hindu Other as a foil for representing themselves. Americans of all sorts imagined India for their own purposes. Cotton Mather, Hannah Adams, and Joseph Priestley engaged the larger European Enlightenment project of classifying and comparing religion in India. Evangelical missionaries used images of “Hindoo heathenism” to raise support at home. Unitarian Protestants found a kindred spirit in the writings of Bengali reformer Rammohun Roy. Popular magazines and common schoolbooks used the image of dark, heathen, despotic India to buttress Protestant, white, democratic American identity. Transcendentalists and Theosophists imagined the contemplative and esoteric religion of India as an alternative to materialist American Protestantism. Hindu delegates and American speakers at the 1893 World’s Parliament of Religions engaged in a protracted debate about the definition of religion in the industrializing United States. The questions of American identity, classification, representation, and the definition of “religion” that animated descriptions of heathens, Hindoos, and Hindus in the past still animate American debates today.
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13

Finseth, Ian. Body Images. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190848347.003.0003.

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This chapter shows that the visual archive of the Civil War—photography, painting, lithography, and illustration—was engaged in a complex undertaking of both directing viewers’ attention to the dead and displacing that attention. The argument is threefold. First, it challenges the conventional wisdom that photographs of the dead made the war more “real” for Americans and served to disrupt their communal grief; rather, these images have the potential to nurture an abstract and open-ended condition of national mourning, evoking a feeling of mutual belonging and of citizenship itself. Second, lithographic prints of battle scenes aestheticize mortality in a way that suppreᶊes the political meanings of the war while creating an allegory of national progreᶊ. Third, some Civil War painting thematized the power of silence, reflection, and contemplation, thereby encouraging a different form of viewing and the exercise of independent critical thought in relation to the waste of war.
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14

Tollefsen, Torstein Theodor. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816775.003.0006.

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We have seen that the iconoclast council of 754 set forth an argument against the holy icons that St Theodore took very seriously. How is it possible to make a true image of the incarnate God? Christ united divine and human nature in Himself. One should expect then that an image would represent both these natures. However, we have seen that Theodore makes the rather obvious claim that it is not natures that are the subject of painting, it is the hypostasis. This, unfortunately, does not solve the problem, since the hypostasis of Christ is the hypostasis of the eternal Son of God, and this is obviously invisible. In order to solve this problem Theodore works out a Christological position of some complexity, the main elements of which are drawn from the tradition of Orthodox Christology. His purpose is to show that if Christ became a human being, He should assume and manifest a particularized humanity. Since that is what He did, He would also be a potential subject of painting. In fact, the painting of an icon of Christ is important, both as a witness to the Incarnation and as a means of contemplation. The last point is essential, since the icon gives access not only to the concrete humanity of Christ, but even creates a possibility for the human mind to ascend to God through contemplating the icon....
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15

William, Johnston, and Huston Smith. The Cloud of Unknowing: And The Book of Privy Counseling (Image Book Original). Image, 1996.

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16

Hiltebeitel, Alf. The Party, The Guests, and Why Viṣṇu Ananta Deva? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878375.003.0007.

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Why did Bose send a statuette of Viṣṇu from distant Kerala to Freud for his 75th birthday rather than a Bengali goddess? The first half of chapter 7 looks at clues about the choice of the statuette of “Viṣṇu Ananta Deva.” The second half then examines various icons of Viṣṇu (or his avatars) on the hypothesis that the snake as seat and hooded backdrop represents the unconscious, which would befit Ananta contemplating his navel. A comparison with a sanctum image of Viṣṇu in a more familiar pose of lying on Ananta’s coils on the cosmic waters suggests that the two images were interreferential. In that case, the banyan leaf is interchangeable with the serpent couch and hood, and Viṣṇu is interchangeable with the pre-Oedipal baby Kṛṣṇa. The snake also appears as seat and hooded protector for Viṣṇu in his Man-Lion form, where the iconography suggests unconscious Oedipal themes.
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17

Contemporary Perspectives on Corporate Marketing: Contemplating Corporate Branding, Marketing and Communications in the 21st Century. Routledge, 2013.

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18

Rodrigues, Ailton Volpato. Da crise de fé ao silêncio reverente: (des-re-)construções da imagem de Deus em Jó. Brazil Publishing, 2021. http://dx.doi.org/10.31012/978-65-5861-197-4.

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The aim of this research is, following the arduous path taken by Job in his comprehension of the mysterious action of God, to contemplate the process of "de-rebuilding" of the images of God present in the poetic body of the biblical text. The term "de-rebuilding" has the objective of summarizing Job’s long journey in his difficult relationship towards God in the dark light of faith. The Book of Job is appreciated as a masterpiece of universal literature, both by its stylistic and poetic quality, as well as by its subject matter and its approach, in an admirable anthropological / psychological path, and, above all, religious / theological. The timeless presence of his drama finds, paradoxically, a resounding echo in the artistic-literary production of the last centuries. From the theologica-lliterary journey, through the “Job-monument”, this work aims at situating the adventure of the gratuitousness of the faith in the arduous spiritual process that dwells on moments of eclipse, but also of meaningful insights capable of, inserted in the wonderful and mysterious act of God, reverently contemplate his unexpected and prodigious action, making life meaningful. It is in the gratuitousness of devotion and hope of seeing God inwardly, letting Him be who He is, and by the willingness to be led to beauty, after all, that the process of deconstruction of His image becomes an itinerary of faith, a concrete mystique and meaning of life.
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19

Hawkins, Stan. Aesthetics and Hyperembodiment in Pop Videos. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.002.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is disclosed by the suggestive positioning of the gendered body, which extends far beyond everyday experience. Such notions are theorized through aspects of hyperembodiment and hypersexuality, wherein the technological constructedness of the body constitutes a prime part of video production. The aesthetics of performance are predicated on the reassemblance of the body audiovisually. Editing, production, and technology shape the images, which are stimulated by musical sound, and ultimately the audiovisual flow in pop videos mediates a range of conventions that say much about our ever-evolving cultural domains.
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20

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

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Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.
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21

Brill, Sara. Greek Philosophy in the Twenty-first Century. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935390.013.70.

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This article addresses contemporary efforts to understand how the earliest practitioners of philosophy conceived of the philosophic life. It argues that, for Plato, the concept of bios was a central, animating, and structuring object of philosophic inquiry. Concentration on the imagery Plato employed to draw bios into the purview of philosophic contemplation and choice points to interpretative avenues that further the aim of treating the dialogues as complex, integrated wholes, and offers a new approach to the question of the status of image-making in them. The article concludes with thoughts on how an exploration of bios might extend beyond Plato to Aristotle, via an examination of his treatment of the range of human and animal bioi, suggesting that such an examination clarifies the relationship between his analysis of the polis-dwelling animal and his broader investigation of living beings as such.
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22

Haskell, Ellen. A Composite Countenance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636647.003.0007.

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The thirteenth-century Spanish Jewish mystical classic Sefer ha-Zohar is known for its elaborate divine imagery. This chapter explains how the Zohar invests the traditional anthropomorphic metaphor of the divine countenance with new meaning in order to define both divine and human faces as sites of spiritual revelation and transformation. The Zoharic authors’ goals are twofold. First, the mystics’ own human faces are divinized, becoming vehicles of mutual revelation accessed through spiritual fellowship. Second, the divine face is defined as an abstraction beyond human understanding, since human features are but one fragment of a transcendent whole that inspires contemplation through unusual image juxtapositions. This dual usage mirrors the Zohar’s broader mystical theology, which understands God as both revealed to and concealed from human beings. Further, reworking an ancient divine metaphor from within by manipulating its metonymic associations allows the mystics to transform their religious culture without overtly defying traditional scriptural authority.
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23

Rabinowitz, Stanley J., ed. And Then Came Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943363.001.0001.

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Here for the first time in English are freshly translated essays on famous women in the arts, in contemporary Russian life, and especially in the world of classical dance written by Russia’s foremost ballet critic of his day, Akim Volynsky (1861–1926). Volynsky’s depiction of the body beautiful onstage at St. Petersburg’s storied Maryinsky Theater is preceded by his earlier writings on women in Leonardo da Vinci, Dostoevsky, and Otto Weininger, and on such illustrious female personalities as Zinaida Gippius, Liubov Gurevich, Ida Rubinstein, and Lou Andreas-Salome. Volynsky was a man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation, which crossed over into the personal and libidinal. His career looks ahead to another Petersburg-bred “high priest” of classical dance, George Balanchine; indeed, with their undeniable proclivity toward ballet’s female component, Volynsky’s dance writings, illuminated here by examples of his earlier “gendered” criticism, invite speculation on how truly groundbreaking and forward-looking this understudied critic is.
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24

Grave, Floyd. Narratives of Affliction and Recovery in Haydn. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.28.

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Haydn’s instrumental music is often marked by peculiarities—events that feature harmonic deflections, gasping pauses, metrically dissonant accents, and the like—for which the customary methods of structural and stylistic analysis can promise only limited explanation. The evolving language of Disability Studies in music offers a vantage point for contemplating such idiosyncrasies, most notably those that suggest musical equivalents of impairment and recovery. A disability-related perspective may serve as a guide in the search for appropriate metaphors: words and images that can help breathe life into our interaction with a given work as listeners and performers. As witnessed in certain passages from Haydn’s string quartets and a symphony, a reading that shows the music to embody disabling conditions and their remediation helps us connect with emotions and experiences that may resonate with the lives of the composer and his contemporaries as well as with our own.
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25

Gillis, David. Reading Maimonides' Mishneh Torah. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906764067.001.0001.

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This book demonstrates that the Mishneh torah, Maimonides' code of Jewish law, has the structure of a microcosm. Through this symbolic form, Maimonides presents the law as designed to perfect the individual and society by shaping them in the image of the divinely created cosmic order. The commandments of the law thereby bring human beings closer to fulfilling their ultimate purpose, knowledge of God. This symbolism turns the Mishneh torah into an object of contemplation that itself communicates such knowledge. In short, it is a work of art. The book unpacks the metaphysical and cosmological underpinnings of Maimonides' scheme of organization, allowing the reader to understand the Mishneh torah's artistic dimension and to appreciate its power. Moreover, as the book makes clear, uncovering this dimension casts new light on one of the great cruxes of Maimonides studies: the relationship of the Mishneh torah to his philosophical treatise The Guide of the Perplexed. A fundamental unity is revealed between Maimonides the codifier and Maimonides the philosopher that has not been fully appreciated hitherto. Maimonides' artistry in composition is repeatedly shown to serve his aims in persuading us of the coherence and wisdom of the halakhic system. The book sets in high relief the humane and transcendental purposes and methods of halakhah as Maimonides conceived of it, in an argument that is sure-footed and convincing.
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26

Cohen, Julie E. Between Truth and Power. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190246693.001.0001.

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This book explores the relationships between legal institutions and political and economic transformation. It argues that as law is enlisted to help produce the profound economic and sociotechnical shifts that have accompanied the emergence of the informational economy, it is changing in fundamental ways. We are witnessing the emergence of legal institutions adapted to the information age, but their form and their substance remain undetermined and are the subjects of intense struggle. One level for legal-institutional transformation involves baseline understandings of entitlement and disentitlement. Both lawyers and laypeople tend to think of legal entitlements as relatively fixed, but the ongoing transformation in political economy has set things in motion in ways that traditional accounts do not contemplate. In particular, the datafication of important resources and the shift to a platform-based, massively intermediated communications environment have profoundly reshaped both the organization of economic activity and the patterns of information exchange. The authority of platforms is both practical and normative, and it has become both something taken for granted and a powerful force reshaping the law in its own image. Another level for legal-institutional transformation involves the structure and operation of regulatory and governance institutions. Patterns of institutional change in the networked information era express a generally neoliberalized and managerialist stance toward the law’s projects and processes. They reflect deeply embedded beliefs about the best uses of new technological capabilities to manage legal and regulatory processes and account for activities of legal and regulatory concern.
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