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Journal articles on the topic 'Thomas, Thomas, Thomas, Imagination. Imagination. Imagination'

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Published: 4 June 2021

Last updated: 14 February 2022

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1

Roszak, Piotr, and John Anthony Berry. "Moral Aspects of Imaginative Art in Thomas Aquinas." Religions 12, no. 5 (2021): 322. http://dx.doi.org/10.3390/rel12050322.

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For Thomas Aquinas, the imagination, being one of the “inner senses”, is a doorway to attain true knowledge. In this paper, we first analyze his lexicon in this regard (imaginatio and phantasia). Second, we discuss imagination as the subject matter of the intellectual virtues, which facilitate cognition and judgment. The development of imagination is the foundation of his vision of education not only on the natural but also on the supernatural level. Third, we explore Aquinas’ moral assessment of imaginative art and finally its influence on shaping the character. This influence occurs on two levels: it is assessed from the perspective of charity, justice, prudence and purity, namely to what extent the art serves these values, whereas the second criterion is beauty.

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Wawrzonkowski, Krzysztof. "Thomas Hobbes’ Conception of Imagination." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych, no. 24 (2012): 19–36. http://dx.doi.org/10.15290/idea.2012.24.02.

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3

Burstein, Andrew. "Thomas Jefferson's Sexual Imagination." History Compass 3, no. 1 (2005): **. http://dx.doi.org/10.1111/j.1478-0542.2005.00178.x.

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4

McKusick, James C. "Originality and Imagination. Thomas McFarland." Wordsworth Circle 17, no. 4 (1986): 194–96. http://dx.doi.org/10.1086/twc24040694.

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5

DeVito, Michael. "Abduction, Imagination, and Science." Philosophia Christi 22, no. 2 (2020): 335–45. http://dx.doi.org/10.5840/pc202022228.

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In this essay, I argue that developments in Alvin Plantinga’s evolutionary argument against naturalism—specifically, Thomas Crisp’s argument against a naturalistic metaphysics—have likely undermined the project of science for naturalists who are scientific realists. Scientific theorizing requires the use of abductive reasoning. A central component of abductive reasoning is the use of one’s imagination. However, Crisp’s argument provides us reason to doubt the trustworthiness of our cognitive faculties as it relates to the imaginative abilities necessary for complex abductive reasoning.

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6

Hiatt, Alfred. "The Cartographic Imagination of Thomas Elmham." Speculum 75, no. 4 (2000): 859–86. http://dx.doi.org/10.2307/2903544.

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7

Edward Berry. "Thomas More and the Legal Imagination." Studies in Philology 106, no. 3 (2009): 316–40. http://dx.doi.org/10.1353/sip.0.0028.

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8

Obert, Julia C. "The Entomological Imagination: Thomas Kinsella's Insect Poems." Irish University Review 47, no. 2 (2017): 360–72. http://dx.doi.org/10.3366/iur.2017.0286.

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Insects are central to Thomas Kinsella's poetic ecologies. First, they highlight Kinsella's interest in process and change. Many of his volumes thematize circularity and cyclicality, growth and decay, and insects' short lives make these metamorphoses available to poetic perception. Second, Kinsella uses insect behaviour to reflect on human relationality. Such relationality often cannot hold in Kinsella's work; it is frequently hierarchical or exploitative. However, an index swarm is a non-hierarchical, self-organizing group, a leaderless yet cooperative assemblage that privileges collective intelligence over individual talent. Modes of animal organization, Kinsella implies, might teach humans how to live more symbiotically.

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9

Hiebert, Ted, and Jin-Kyu Jung. "Psychogeographic visualizations: or, what is it like to be a bat?" cultural geographies 27, no. 3 (2019): 477–84. http://dx.doi.org/10.1177/1474474019891988.

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What is it like to be a bat? is an artistic experiment that uses brainwave visualization as a way to speak about affective, cognitive, and imaginative geography – partly through the generation of real data sets and partly as metaphors for what data metrics can never really account for – that is, the incommensurability of experience. The project involves recruiting participants (mostly, but not exclusively, students) to imagine ‘what it is like to be a bat’ as a practice-based critique of Thomas Nagel’s 1974 rejection of the imagination as a useful tool for consciousness studies (Nagel’s essay used the bat as a metaphor, hence our choice of focus). Using electroencephalography brainwave sensors, we mapped and visualized participants’ brainwaves as they imagined, creating what we think of as ‘imagination portraits’. The project is then theorized for the ways it illuminates the limits of visualization and the imagination’s importance as a praxis for qualitative research. As a conceptual guide, we use a creative re-interpretation of psychogeography; however, in our work psychogeography is less about the psychological dimensions of real space and more about the mind’s spatiality, by which we mean the consideration of different forms of imagining as ‘places’ a mind can be taken to, reconfiguring psychogeography from the inside-out. In this way, we are interested in how a geographic understanding of the imagination might allow for conversations about different psychological landscapes of cognition.

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10

Pern, Tuuli. "Imagination in Vico and Hobbes: From affective sensemaking to culture." Culture & Psychology 21, no. 2 (2015): 162–84. http://dx.doi.org/10.1177/1354067x15575794.

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Giambattista Vico and Thomas Hobbes both are known for the particular emphasis they put on the workings of imagination in human understanding. Their respective concepts of imagination are compared in this article, with attention to the sensory basis and cultural products related to this capability. The connections and contrasts established in the analysis are contextualized by the notion of affective semiosis. An affective component can be traced at the basis of the process of image creation in both authors. The primary level of human semiotic activity where the most basic differentiation and identification processes take place must describe not only in terms of sensation but also affect, imagination, and memory. The expression of these processes on the level of culture is however understood and valued differently by Vico and Hobbes. Vico sees in myth and metaphor the necessary elements of imaginative sensemaking, for Hobbes they take the role of by-products in mind’s struggle toward rationality.

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11

Chetwynd, Ali. "The Political Imagination of Thomas Pynchon’s Later Novels." American, British and Canadian Studies 33, no. 1 (2019): 233–43. http://dx.doi.org/10.2478/abcsj-2019-0026.

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12

Hoagwood, Terence. "Shelley and the Romantic Imagination. Thomas R. Frosch." Wordsworth Circle 38, no. 4 (2007): 172–73. http://dx.doi.org/10.1086/twc24045299.

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13

Jewusiak, Jacob. "Thomas Hardy's impulse: context and the counterfactual imagination." Textual Practice 34, no. 3 (2018): 461–78. http://dx.doi.org/10.1080/0950236x.2018.1508493.

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14

Evans, Dorinda, and Ellwood C. Parry III. "The Art of Thomas Cole: Ambition and Imagination." Art Bulletin 73, no. 3 (1991): 495. http://dx.doi.org/10.2307/3045818.

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15

Heuser, Alan. "The Imagination of Edward Thomas by Michael Kirkham." ESC: English Studies in Canada 15, no. 1 (1989): 99–103. http://dx.doi.org/10.1353/esc.1989.0036.

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16

Kehoe, Deborah P. "Book Review: Thomas Merton and the Inclusive Imagination." Christianity & Literature 54, no. 4 (2005): 623–27. http://dx.doi.org/10.1177/014833310505400413.

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17

Clendenning, John. "Thomas Beer'sStephen Crane: The eye of his imagination." Prose Studies 14, no. 1 (1991): 68–80. http://dx.doi.org/10.1080/01440359108586422.

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18

Lalruatkima. "Frontiers of Imagination: Reading over Thomas Lewin’s Shoulders." Studies in History 32, no. 1 (2016): 21–38. http://dx.doi.org/10.1177/0257643015615998.

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19

Misztal, Arkadiusz. "Dream Time, Modality, and Counterfactual Imagination in Thomas Pynchon’s Mason & Dixon." Polish Journal for American Studies, no. 14 (Spring 2020) (December 1, 2020): 39–57. http://dx.doi.org/10.7311/pjas.14/1/2020.03.

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This paper elucidates the structure and scope of Pynchon’s temporal imagination by studying the complex relations between narrative time and modality in his 1997 novel Mason & Dixon using the conceptual framework of contemporary narratology. It argues that Pynchon’s use of the subjunctive mode allows him not only to articulate the political and ideological concerns in his vision of America on the eve of its founding but also to address the problems of historicity, causality and irreversibility of time. By employing the subjunctive as a general narrative strategy, Mason & Dixon challenges the various temporal regimes and discourses of modernity, and projects imaginative re-figurations of time and space. In carrying this out, the novel moves beyond what Pynchon calls “the network of ordinary latitude and longitude” (Against the Day 250) and replaces a totalizing singularity with plurality of times and timescapes

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20

FAIRCLOUGH, MARY. "Dr Thomas Beddoes and the Politics of the Imagination." Journal for Eighteenth-Century Studies 37, no. 1 (2013): 79–96. http://dx.doi.org/10.1111/1754-0208.12035.

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21

Cooper, D. D. "Thoreau's Ecstatic Witness; Thomas Merton and the Inclusive Imagination." American Literature 75, no. 3 (2003): 668–70. http://dx.doi.org/10.1215/00029831-75-3-668.

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22

Turner, A. J. "Instruments and the Imagination. Thomas L. Hankins , Robert J. Silverman." Isis 88, no. 2 (1997): 325–27. http://dx.doi.org/10.1086/383704.

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23

Figueira, Dorothy. ": L'inde et L'Imaginaire (India in Western Imagination) . Catherine Weinberger-Thomas." American Anthropologist 91, no. 2 (1989): 506–7. http://dx.doi.org/10.1525/aa.1989.91.2.02a00740.

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24

Flaxman, Rhoda L. (Rhoda Leven). "Thomas Hardy: Imagining Imagination in Hardy's Poetry and Fiction (review)." Victorian Studies 44, no. 3 (2002): 551–52. http://dx.doi.org/10.1353/vic.2002.0055.

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25

Sharpe, Jenny. "What Use Is the Imagination?" PMLA/Publications of the Modern Language Association of America 129, no. 3 (2014): 512–17. http://dx.doi.org/10.1632/pmla.2014.129.3.512.

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In death of a discipline, Gayatri Chakravorty Spivak attributes the emergence of postcolonial studies to an increase in Asian immigration to the United States following Lyndon Johnson's 1965 reform of the Immigration Act (3). I would like to resituate her genealogy of the field in order to consider the “ab-use,” or “use from below,” of the European Enlightenment she asks us to cultivate in her most recent book, An Aesthetic Education in the Era of Globalization. To perform this move, I will suggest that postcolonial studies began more than one hundred years before the legislation Spivak names in what has become a founding document for the field. I am referring to Thomas Babington Macaulay's well-known 1835 minute on Indian education, which proposed the creation of “a class of persons, Indian in blood and colour, but English in taste, in opinions, in morals, and in intellect” (729). The class of Western-educated natives who would serve as liaisons between European colonizers and the millions of people they ruled came to be known in postcolonial studies as colonial subjects.

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26

Folescu, Marina. "Thomas Reid's View of Memorial Conception." Journal of Scottish Philosophy 16, no. 3 (2018): 211–26. http://dx.doi.org/10.3366/jsp.2018.0204.

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Thomas Reid believed that the human mind is well equipped, from infancy, to acquire knowledge of the external world, with all its objects, persons and events. There are three main faculties that are involved in the acquisition of knowledge: (original) perception, memory, and imagination. It is thought that we cannot understand how exactly perception works, unless we have a good grasp on Reid's notion of perceptual conception (i.e., of the conception employed in perception). The present paper argues that the same is true of memory, and it offers an answer to the question: what type of conception does it employ?

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27

Leane, Elizabeth, and Stephanie Pfennigwerth. "Antarctica in the Australian imagination." Polar Record 38, no. 207 (2002): 309–12. http://dx.doi.org/10.1017/s003224740001799x.

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AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional response. Keneally's novels are ‘literary,’ but these more recent novels cover the gamut of popular genres: science fiction, action-thriller, and romance. Furthermore, they indicate a change in the perception of Antarctica and its place within international relations. Whereas Keneally is primarily concerned with the psychology of the explorer from the ‘Heroic Age,’ these younger Australian writers are interested in contemporary political, social, and environmental issues surrounding the continent. Literary critics have hitherto said little about textual representations of Antarctica; this paper opens a space for analysis of ‘Antarctic fiction,’ and explores the changing nature of Australian-Antarctic relations as represented by Australian writers.

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28

Führer, Heidrun. "“Take the Beuys off!” – Reconsidering the Current Concept of Ekphrasis in the Performative Poetry of Thomas Kling." Aletria: Revista de Estudos de Literatura 27, no. 2 (2017): 157–88. http://dx.doi.org/10.17851/2317-2096.27.2.157-188.

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A portrait poem by the German poet Thomas Kling (1957-2005) about the German artist Joseph Beuys is the starting point to reconsider the current ekphrasis discourse in the light of experienced visuality by combining the concept of ancient rhetoric with modern ideas of imagination, multimodality and performativity.

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29

Roberts, Daniel Sanjiv. "The Janus-face of Romantic Modernity: Thomas De Quincey's Metropolitan Imagination." Romanticism 17, no. 3 (2011): 299–308. http://dx.doi.org/10.3366/rom.2011.0043.

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30

Stiles, Anne. "Thomas Hardy’s Brains: Psychology, Neurology, and Hardy’s Imagination by Suzanne Keen." Modernism/modernity 22, no. 2 (2015): 405–7. http://dx.doi.org/10.1353/mod.2015.0028.

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31

Hendrickson, Timothy M. "Thomas Hardy’s Brains: Psychology, Neurology, and Hardy’s Imagination by Suzanne Keen." Style 50, no. 3 (2016): 373–76. http://dx.doi.org/10.1353/sty.2016.0010.

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32

Godfrey, Michael J. H. "Catchments for God-Talk: Karl-Josef Kuschel and Theological Language." Pacifica: Australasian Theological Studies 8, no. 1 (1995): 40–52. http://dx.doi.org/10.1177/1030570x9500800105.

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In this article a case is made for greater use of the works of creative imagination, particularly literature, in the formation of theological language. Particular reference is made to the recent theology of Karl-Josef Kuschel and to the writings of R. S. Thomas, James K. Baxter, D. H. Lawrence, and Fyodor Dostoevsky.

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33

Grave, Crescenciano. "Creación artística y ética. Montaje a partir de Thomas Mann." Theoría. Revista del Colegio de Filosofía, no. 8-9 (December 31, 1999): 139–47. http://dx.doi.org/10.22201/ffyl.16656415p.1999.8-9.229.

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This paper analyzes the possibilities of artistic creation, of literature in particular, to provide our experience with ethical imagination. In three works of Thomas Mann —Tristan, Tonio Kröger and Death in Venice— the author shows the conflict of the artist in the modern world and its relationship with the ethical configuration of the existence. Hence, the central question is, how can language help in the configuration of our morality?

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34

Wallach, Alan. "The Art of Thomas Cole, Ambition and Imagination. Ellwood C. Parry, III." Archives of American Art Journal 28, no. 4 (1988): 21–25. http://dx.doi.org/10.1086/aaa.28.4.1557616.

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35

Glennemeier, Jaelyn. "Engaging through Seeing." Undergraduate Research Journal for the Humanities 3, no. 1 (2018): 3–23. http://dx.doi.org/10.17161/1808.26398.

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The opening scene of Charlotte Brontë’s best-known novel, Jane Eyre, reveals a young Jane pouring over the pages of Thomas Bewick’s History of British Birds. Her eyes are drawn to the mysterious vignettes of the forlorn arctic and the lone ship on the rough sea. The images take over and inspire her imagination, but her deep connection to these images suggests something far more complex than a moment of childhood daydreaming. More than a simple literary allusion, the scene calls for a closer look into the relationship between imagination and illustration. This paper examines how both Bewick and Brontë understood the useful application of imagination in their roles as artists and as writers. It recognizes the nineteenth-century visual reading experience and argues that these authors intentionally used illustrations as integral parts of their texts. It also argues that young Jane’s ability to imaginatively partake in reading, and in life, make her both Bewick and Brontë’s ideal reader.

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36

Mukherjee, Amitrajeet. "Terror Recollected in Tranquility: The Oriental Gothic and the Sublime Imagination of Thomas De Quincey." International Journal of English and Comparative Literary Studies 2, no. 3 (2021): 45–54. http://dx.doi.org/10.47631/ijecls.v2i3.221.

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This paper explores Thomas De Quincey’s seminal text Confessions of an English Opium Eater, examining the artistic vision of the writer and locating the author and his text within the context of the growing British Imperial project in the early 19th century. By locating the substance of his addiction, opium, within the economic, political, and cultural discourses that were developing in Britain at the time, this paper aims to deconstruct the ambivalent relationship that De Quincey, and by extension large segments of British society, had towards an imagined construction of the Orient. By analyzing the Gothic elements of De Quincey’s text, I argue that these images of the East are the signs of growing Orientalist discourse. They squarely locate Romantic tropes within the narrative of British Imperialism. In addition to exploring the fissured imagination of Asia that marks De Quincey’s work, this paper also briefly analyzes the psychological aspects of De Quincey’s contemplation of his addiction and presents a brief account of the role, opium played within the Romantic movement of the early 19th century. Through De Quincey’s opium-induced hallucinations, I attempt to analyze a mode of reflecting and presenting the sublime which was intrinsically linked to an imagined East that revisits the intersection of discourses of art, lived experiences, and the cultural and political anxieties of the era in which the primary text was produced to create a glimpse of the larger discursive function of De Quincey’s confessional memoir. This paper can thus be read as an intervention to re-engage with the links between Romantic aesthetic imaginations and the colonial enterprise of Empire building in the early 19th century.

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37

Tibaldeo, Roberto Franzini. "Thinking and behaving “Otherwise”: An anthropological enquiry into utopia, image and ethics." Ethics & Bioethics 9, no. 1-2 (2019): 3–10. http://dx.doi.org/10.2478/ebce-2019-0003.

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Abstract The word “utopia” was coined by Thomas More and refers to the unreal and ideal state described in his Utopia, first published in 1516. Following the example of Plato’s Republic, More as well as other thinkers and writers of the 16th and 17th century reflect on the political relevance of utopia and provide unique accounts of ideal, just, and perfect “no places”, as paradigms and standards of social, political, and religious reformation of the coeval world. However, the political significance of utopia relies on a basic anthropological feature, which incidentally is already underlined by More: the relationship between imagination and experience. This means that: 1) the human being’s “eidetic” freedom is characterised by the inseparable relationship between imagination, reflection, experience and action; 2) utopia is capable of disclosing the transformative and normative features related to the human being’s constitution; 3) utopia can be fruitfully used to motivate human will and mobilise support for human flourishing. In this article I endeavour to show that among contemporary philosophers it is Hans Jonas who most fully develops the anthropological significance of utopia by investigating the very relationship between imagination and experience, and by underlining how the eidetic and reflective constitution of the human being leads to ethics. As a further goal, I wish to highlight that the anthropological relevance of utopia can shed light on our imaginative and ambivalent nature, and provide a practical and educational basis for the achievement of an “ethics of images” for the current digital era. For this purpose I shall draw on the thinking of Marie-José Mondzain and Jean-Jacques Wunenburger, among other scholars.

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38

Douglass, Robin. "The Body Politic “is a fictitious body”." Hobbes Studies 27, no. 2 (2014): 126–47. http://dx.doi.org/10.1163/18750257-02702005.

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Thomas Hobbes once wrote that the body politic “is a fictitious body”, thereby contrasting it with a natural body. In this essay I argue that a central purpose of Hobbes’s political philosophy was to cast the fiction of the body politic upon the imaginations of his readers. I elucidate the role of the imagination in Hobbes’s account of human nature, before examining two ways in which his political philosophy sought to transform the imaginations of his audience. The first involved effacing the false ideas that led to sedition by enlightening men from the kingdom of spiritual darkness. I thus advance an interpretation of Hobbes’s eschatology focused upon his attempt to dislodge certain theological conceptions from the minds of men. The second involved replacing this religious imagery with the fiction of the body politic and the image of the mortal God, which, I argue, Hobbes developed in order to transform the way that men conceive of their relationship with the commonwealth. I conclude by adumbrating the implications of my reading for Hobbes’s social contract theory and showing why the covenant that generates the commonwealth is best understood as imaginary.

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39

So, Francis K. H. "Economic Obsession in Early Literary Imagination: Shakespeare, Jonson and More." Interlitteraria 24, no. 1 (2019): 67–80. http://dx.doi.org/10.12697/il.2019.24.1.6.

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That revenues, profits, wealth, valuables, properties and various forms of riches can be so attractive to most people is because these resources affect the operational mode of social economy and personal well-being. As a major driving force of social development, the desire to accumulate wealth affords people the prospect of leading a comfortable life. Yet the acquisition of which may bring down other people to become poorer and creating potential social injustice. Three interrelated concepts in money spending: consumption, fear of poverty and social justice/injustice are markedly shown in some of the great minds among English writers. In this article, Shakespeare’s The Merchant of Venice, Ben Jonson’s Volpone and Thomas More’s Utopia are used to demonstrate the concerns of the early modern English mentality. Some scholars have suggested that the first two playwrights reflected the fear that their London would come to be ruled by corruption, swindling, greediness, vicious competition and unethical business practices. In this pre-capitalist economy, people are seen to adopt unfair competition and reciprocal malice in order to accumulate wealth. Entrepreneurial liberation in economic affairs sets off the dark side of hu manity in which the playwrights were most probably implicated. To counteract this rapacious thinking, Thomas More offers his conception of a wealthy and happy worldly life. Not to attack the self-centered, bene fit gaining intentions, Utopia builds up a society that claims fairness, commonwealth, more obligations than privileges and the wiping away of vanity. Mercantilism is not denied, yet private property is contained. Written earliest among the three works, Utopia anticipates the two plays that dwell on social evils sparked by over concern for personal gains. Generally, the three works lay the foundation of positive and negative aspects of economy in terms of production, marketing, circulation, consumption and services of the English mind of that era. The social mood borders on the financial and political matters of the bourgeois class while providing a mega-worldview as well as micro-worldview of economic concern of the sixteenth and seventeenth centuries England.

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40

Clucas, Stephen. "Poetic atomism in seventeenth-century England: Henry More, Thomas Traherne and scientific imagination?" Renaissance Studies 5, no. 3 (1991): 327–40. http://dx.doi.org/10.1111/j.1477-4658.1991.tb00245.x.

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41

Steele, Brian. "“Most Blessed of the Patriarchs”: Thomas Jefferson and the Empire of the Imagination." Journal of American History 104, no. 2 (2017): 480–81. http://dx.doi.org/10.1093/jahist/jax197.

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42

Clucas, Stephen. "Poetic Atomism in Seventeenth-Century England: Henry More, Thomas Traherne and "Scientific Imagination."." Renaissance Studies 5, no. 3 (1991): 327–40. http://dx.doi.org/10.1111/1477-4658.00104.

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43

Goulding, Robert. "Thomas Harriot’s optics, between experiment and imagination: the case of Mr Bulkeley’s glass." Archive for History of Exact Sciences 68, no. 2 (2013): 137–78. http://dx.doi.org/10.1007/s00407-013-0125-1.

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44

Harrington, Dana. "Remembering the Body: Eighteenth-Century Elocution and the Oral Tradition." Rhetorica 28, no. 1 (2010): 67–95. http://dx.doi.org/10.1525/rh.2010.28.1.67.

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Abstract: This article revisits eighteenth-century elocutionists Thomas Sheridan and John Walker by examining their work in two contexts: 1) classical imitation and oral reading traditions that engaged the body and emotions; and 2) early modern views of the faculties, particularly the faculties of the imagination and taste. These contexts, I argue, are essential to understanding the social and ethical claims the elocutionists made to support the revival of elocution and to understanding how they perceived their own practices.

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45

Vaget, Hans Rudolf. "Thomas Mann Chronik, and: Thomas Mann's Death in Venice. A Novella and Its Critics, and: Understanding Thomas Mann, and: Thomas Mann und die kleinen Unterschiede. Zur erzählerischen Imagination des Anderen." Monatshefte 99, no. 4 (2007): 584–90. http://dx.doi.org/10.1353/mon.2008.0013.

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46

Karlin, Louis W., and David R. Oakley. "The Role of Humor in Reforming the Imagination in St. Thomas More’s The Sadness of Christ and A Dialogue of Comfort." Moreana 52 (Number 199-, no. 1-2 (2015): 155–89. http://dx.doi.org/10.3366/more.2015.52.1-2.12.

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This essay analyzes More’s use of humor in The Sadness of Christ and A Dialogue of Comfort Against Tribulation, and finds that rhetorical devices such as satire, parody and the telling of merry tales play an integral role in engaging the reader’s imagination. In these two late works, dealing with the most serious of subjects, the humanist More embraces the rhetorical tradition of Antiquity which assigned a creative function to the imagination and recognized mockery, irony and humor as means of rational persuasion. The essay finds that More provokes laughter for three interrelated aims—to correct and inform the understanding, to strengthen communal bonds, and ultimately to express the joyful hope of the beatific vision.

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Dungey, Nicholas. "Thomas Hobbes's Materialism, Language, and the Possibility of Politics." Review of Politics 70, no. 2 (2008): 190–220. http://dx.doi.org/10.1017/s0034670508000302.

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AbstractThomas Hobbes sought a reconstruction of philosophy, ethics, and politics that would end, once and for all, the bitter disputes that led to the English Civil War. This reconstruction begins with the first principles of matter and motion and extends to a unique account of consent and political obligation. Hobbes intended to produce a unified philosophical system linking his materialist account of human nature to his moral and political theory. However, his materialism gives rise to a set of perceptions, imagination, and desires that contribute to the chaos of the state of nature. The sort of person that emerges from Hobbes's materialist anthropology is unlikely to be able to make the necessary agreements about common meaning and language that constitute the ground of the social contract. Therefore, Hobbes's materialism frustrates the very purpose for which it is conceived.

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Collins, John. "“Where Are We Really Going? Always Home”: Thomas Merton and Hermann Hesse." Religion and the Arts 16, no. 1-2 (2012): 78–99. http://dx.doi.org/10.1163/156852912x615883.

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AbstractIn 1968 Thomas Merton, a Trappist monk, made a journey to the Far East to study Eastern monastic religions. Merton’s contemplative prayer life was enhanced by his literary imagination, which was fueled by the reading of a broad spectrum of novelists and poets. During his trip eastward, Thomas Merton read three Hermann Hesse novels and recorded notes in his journal regarding two of them:Journey to the EastandSteppenwolf. This essay examines Thomas Merton’s enigmatic quotations and observations about the two aforementioned novels within the context of each of the respective volumes. Further clarification of Merton’s notes is rendered through a presentation in parallel fashion of other journal entries and recorded conferences made by the monk primarily during his eastward journey. The discussion ofJourney to the Eastreflects Thomas Merton’s own spiritual quest as he traveled to Asia revealing his attraction to the “feminine mystique” as well as his sharing of both Hesse’s disdain for the herd instinct of illusory communities and his alternative portrayal of enlightened communes seeking aesthetic excellence. As Merton readSteppenwolf, he identified with Harry Haller’s propensity for self-contradiction and a tendency to vacillate between the polarities of holding the bourgeoisie at arm’s length and his eventual compromise with the conventions of the bourgeois society.

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Hamilton-Arnold, Caroline. "John in the Company of Poets: The Gospel in Literary Imagination - By Thomas Gardner." Religious Studies Review 38, no. 2 (2012): 83–84. http://dx.doi.org/10.1111/j.1748-0922.2012.01598_4.x.

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Grove, Christopher. "Jayne Elisabeth Archer, Richard Marggraf Turley, and Howard Thomas, Food and the Literary Imagination." Romanticism 25, no. 3 (2019): 303–4. http://dx.doi.org/10.3366/rom.2019.0435.

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