Artículos de revistas sobre el tema "Mysterium tremendum"

A fenomenologia de Husserl motivou uma viragem da filosofia da religião, no século XX, através das obras Das Heilige de Rudolf Otto e O sagrado e o profano de M. Eliade. Ambos partem da experiência religiosa concreta, não de conceitos abstratos de Deus e de religião, para fundamentar a crença religiosa na natureza humana. Otto fala do mysterium tremendum et fascinans na experiência do numinoso e Eliade do homo religiosus e do homo profanus.Abstract: Husserl’s phaenomenology caused a revolution in the philosophy of religion in the twentieth century with the studies Das Heilige of Rudolf Otto and The holy and the profane of M. Eliade. Both authors depart from the concret religious experience, not from the abstract concepts of God and religion, to ground the religious belief in the human nature. Otto speaks about the mysterium tremendum et fascinans in the numinous experience and Eliade about the experience of homo religiosus and the homo profanus.Keywords: Religious experience. Numinous, Mysterium tremendum. Rudolf Otto. Mircea Eliade.

While the natural world may scare us, more frightening beasts arise when we neglect our calling to care for creation and “play god” via technology. From King Kong, Frankenstein, and Godzilla to recent films like The Babadook, The Shape of Water and Us, the most enduring monsters provoke humility, evoke empathy, and prompt us to love rather than fear. These holy terrors can offer an encounter with what Rudolf Otto famously called the mysterium tremendum.

O presente artigo reflete sobre alguns aspectos dos conceitos teóricos em Rudolf Otto sobre o sagrado, apontando para o numinoso e o mysterium tremendum. Revisita a história da Umbanda, uma religião brasileira e, por fim, faz considerações reflexivas a partir de entrevistas e observação participante, realizadas no Centro Espírita Mensageiros da Paz em Cariacica/ES, pelo grupo de pesquisa Religião, Gênero, Violências: Direitos Humanos da Faculdade Unida de Vitória. A problemática que envolve o texto remete à necessidade de conhecer o/a outro/a e sua religião para superar as intolerâncias e violências religiosas, objetivando reconhecer a presença do sagrado na pluralidade e diversidade religiosa brasileira.

The article examines the numinous as an important factor of the sacral sphere. It treats the basic points concerning the numinous presented in Rudolf Ottos work The Sacrum. The Irrational in the Idea of the Divine and its Relation to the Rational. Special attention is paid to the interpretation of the term numinous and the study of significant features of the numinous such as tremendum, majestas, mysterium, fascinans, sanctum. The author seeks to show the importance of the numinous as a phe nomenon in A. Tarkovskys art and to examine the specifics of its realisation in various films.

El artículo busca observar el hecho religioso mapuche, a partir de la reflexión de Rudolf Otto respecto de lo numinoso y lo santo. Para ello se utiliza su metodología de análisis fenomenológico aplicada a los conceptos de mysterium, tremendum y fascinans o las dimensiones del temor, incorporadas en la cultura mapuche. Se concluye que el análisis de estos diversos momentos de la experiencia santo-numinoso en la vida religiosa del mapuche, permite constatar el dinamismo existente en la idea religiosa del mapuche, lo que a su vez representa adecuadamente la relación entre el hombre religioso y lo santo.

AbstractDespite being emphatically ascribed to God in Scripture, holiness is little examined in the current literature on the divine attributes. This article defends a normative theory of holiness, taking as its point of departure Rudolf Otto's classic account of the phenomenology of the experience of holiness as that of a mysterium tremendum et fascinans. To be holy is to merit this dual response, that is, to merit both the overwhelming attraction and distinctive sort of repulsion that is characteristic of the experience of holiness. It is plausibly an implication of this account that a supremely holy being – one who is holy, holy, holy – must be the most perfect possible being.

It is a modern conviction that religion and emotion belong together. It would be an anachronism to presuppose a priori such a connection in pre-modern times. The article shows that the definition of religious experience as mysterium fascinosum et tremendum (R.Otto) is not anachronistic. Biblical texts express an emotional ambivalence of fear and joy when speaking on God. On the one hand, we may explain this ambivalence with the help of evolutionary psychology as part of the universal conditio humana; on the other hand, fear and joy are culturally and historically conditioned. The article gives a sketch of the history and diversity of these emotions in biblical texts and underlines the connection between emotions and rituals.

Neste texto investigaremos a experiência religiosa na teurgia. Primeiramente analisaremos as principais categorias do “numinoso” segundo Rudolf Otto, a saber 1) sentimento de criatura, 2) mysterium tremendum, 3) fascinans e 4) sanctum, observando-as nos Oráculos Caldeus. Em seguida estudaremos o “miraculoso” na teurgia jambliqueana segundo Emma C. Clarke usando as categorias de Otto; neste momento observaremos aspectos como 1) transcendência da verdade, 2) crença no sobrenatural, 3) inspiração e 4) epifanias. Por fim estudaremos o “assombro” de Dacher Keltner e Jonathan Haidt, composto pela 1) vastidão e pela 2) acomodação, podendo conter 3) ameaça, 4) beleza, 5) habilidade, 6) virtude e 7) sobrenatural; veremos que a teurgia inclui o assombro associado aos demais elementos.

Résumé Découvert récemment, le premier cours de Paul Tillich sur la philosophie de la religion (Berlin, 1920) montre à quel point la philosophie critique de Kant fut une influence déterminante sur la genèse de la pensée tillichienne. Tillich applique la méthode critique de manière ingénieuse pour définir la fonction religieuse. Il voit également dans la notion kantienne de l’inconditionné l’amorce d’une saisie intuitive de la nature irréductiblement irrationnelle de la religion. Pour Tillich, ce noyau mystique du rationalisme kantien mène tout droit au mysterium tremendum et fascinans de la phénoménologie religieuse de Rudolf Otto. Mais Tillich va plus loin en affirmant que notre orientation fondamentale vers l’inconditionné constitue le vrai point de départ du religieux, même lorsque cela se fait sous un déguisement profane.

A partir de uma perspectiva teopoética, este artigo traça relações entre duas obras da escritora Hilda Hilst, a peça teatral O Rato no Muro (1967) e a novela Com os Meus Olhos de Cão (1986), localizando a compreensão do divino apresentada nestas narrativas sob a premissa de manifestações ligadas ao grotesco. Com a base inicial em teorias de Kayser (2003) e Bakhtin (1979), a respeito deste conceito estético, esta reflexão aprofunda sua análise por meio da teologia de Rudolph Otto (2007) e a categoria do Mysterium Tremendum. Por meio da experiência literária, Hilda Hilst oferta uma profunda compreensão do numinoso, na maneira como este se revela à humanidade, despertando o sentimento de criatura e ampliando a percepção com um desejo de ver além do que a realidade imediata permite. São interpretações que visam enriquecer os estudos teopoéticos na literatura brasileira, assim como a fortuna crítica em torno da obra de Hilda Hilst.

Doa temasuk bagian integral, pusat dan essensi setiap agama. Sebagai homo religiosus, manusia memiliki tradisi menyangkut pemahaman, penghayatan dan cara berdoa. Di balik aktivitas berdoa, manusia menyadari bahwa kehidupan di dunia ini tidak sepenuhnya berada dalam kontrolnya. Manusia tergantung kepada YANG LAIN, yang oleh Rudolf Otto disebut mysterium tremendum et fascinosum (Misteri yang menggetarkan dan sekaligus menawan). Dalam tradisi Kristen, doa berakar dalam Kitab Suci. Perjanjian Baru, khususnya Injil, menceritakan Yesus sebagai pendoa. Secara khusus dituliskan momen istimewa ketika Yesus berdoa. Ia memilih tempat yang sunyi dan berdoa sepanjang malam. Yesus juga mengkritisi isi dan cara berdoa. Ia mengajarkan doa Bapa Kami yang menjadi salah satu doa pokok Gereja. Relasi personal dengan Allah Bapa-Nya mendasari setiap doa Yesus. Dalam artikel ini dipaparkan beberapa unsur penting dalam doa, yakni apa itu berdoa, cobaan saat berdoa, waktu dan sikap doa, cara berdoa dan menjadi doa. Gagasan tersebut diramu dari pemikiran sejumlah mistikus Kristen awal dan pandangan Bapa-bapa Gereja.

AbstractIn his second theological oration (Oratio 28,3), Gregory Nazianzen equates the divine glory (kabod ) of the Holy of Holies with the divine essence and asserts their inaccessible character. An investigation into the meaning of these two terms unveils their origins in two distinct traditions, the former tracing its roots back to the ancient Semitic symbolisms of the forbidden divine glory and throne, the latter to the Hellenistic philosophical conception of an immaterial and incomprehensible divinity. The thesis advanced in this study is that these two different languages represent two semiotic forms of apophaticism, one expressed through the mysterium tremendum inspiring symbols and images of fire, dazzling glory and enigmatic heavenly creatures, guardians of the enthroned Kabod, the other through negative philosophical terminologies. The identity of the two semiotic forms is established at the end of an investigation that concludes with the observation that Hellenistic theologians developed their apophatic discourses mostly in the context of interpreting biblical reports on the theophanies of the divine and unapproachable enthroned Kabod. It was in this hermeneutical context that they “translated” the symbols of interdiction into philosophical negative concepts.

Este estudo objetivou pesquisar a “comunidade estatal” como possibilidade de fundamento ontoteológico — Trinitário — do Estado em Edith Stein e suas interfaces com os Direitos Humanos. Por essa via, foi adotado o seguinte horizonte arqueológico: escavar os elementos soberania, povo e território e lançá-los à luz dos escritos de Edith Stein, de seus mestres e comentadores, com as pesquisas dos nossos dias sobre o Estado — o que fizemos por meio de uma pesquisa qualitativa de levantamento bibliográfico. No fenômeno da vida associada, só a comunidade (Gemeinschaft) pode abarcar a pessoa humana: corpo-psique-espírito. Por pessoa humana, compreendemos um eu consciente e livre, que, mergulhado em sua ambiguidade (ontológico-ética) e finitude, clama por ser-com o outro, via de acesso ao Outro: um mysterium tremendum — não como mero desejo do desejo de outrem —, na sua condição de ser-medicante de uma realização plena: mendicância de ser feliz, de ser infinito. Na visão orgânica do Estado, identificamos os aspectos espiritual (soberania), psíquico (povo) e corpóreo (território), e vimos que o Estado — uma pessoa, jurídica — necessita de um território do mesmo modo que uma pessoa, humana, precisa de um corpo para viver. Nos nossos dias, o Estado reclama como fundamento uma “comunidade estatal” e não um “contrato social”, como proclama o Estado Moderno. Na comunidade estatal, a soberania — condicio sine qua non — está para o Estado do mesmo modo que a liberdade está para a pessoa humana. Nos escritos de Edith Stein, a concepção cristã — Trinitária — de pessoa humana tem um papel fundamental. Trata-se de uma antropologia cristocêntrica, que apreende a complexidade do ser humano de modo subjetivo e intersubjetivo. Edith Stein mostra — ou melhor, confirma — uma extraordinária visão de conjunto, capaz de abarcar o particular sempre orientado ao universal.

The field of international relations is one of few corners of the social sciences in which it has been relatively easy to avoid an encounter with Karl Marx and Marxist thought. Arguably, the reverse has also been true. Whatever the reasons for that mutual ambivalence, this essay claims Marx as a serious theorist of the international, not just a pamphleteer or tactician. It does so primarily by rereading his response to the suppression of the Paris Commune, The Civil War in France. Marx’s essay, lively and provocative, challenges the distinction between ‘domestic politics’ and ‘international relations,’ and suggests that the ontological building blocks of international theory – the state and war – are revealed as historically unstable by ‘the most tremendous war of modern times.’ While Marx later reconsidered some of his analysis, The Civil War in France retains its interrogatory power especially in relation to contemporary instances of international political violence.

Nizami Ganjavi created a tremendous impression in the world literature with his imperishable five poems. The poet used only Nizami pseudonym in his works. This word means disciplined, temperate, a man of poetry, in other words, poems. The first monumental work of Nizami is Makhzan al-Asrar (“The Treasury of Mysteries”). It is his first writing experience in the field of epic poetry. Whatever the poet says, he thinks about modern life, modern people, and people are mostly narrowminded, captured by greed, fame and lust in this age of injustice, unfairness, oppression and arbitrariness. What saddens Nizami the most is that they dominate others and think they are superior. Key words: modern, poet, poetry, society, play, world

AbstractHow functional genetics research can be applied to improving crop yields is a timely challenge. One of the most direct methods is to produce larger inflorescences with higher productivity, which should be accompanied by a balance between stem cell proliferation and lateral organ initiation in meristems. Unbalanced proliferation of stem cells causes the fasciated inflorescences, which reflect the abnormal proliferation of meristems, derived from the Latin word ‘fascis’, meaning ‘bundle’. Maize, a model system for grain crops, has shown tremendous yield improvements through the mysterious transformation of the female inflorescence during domestication. In this review, we focus on maize inflorescence architecture and highlight the patterns of fasciation, including recent progress.

Bees play a vital role in saving environment as they are the paramount agricultural pollinators and are the prior pollinators in the tropical ecosystem. Now a days, bees are in trouble as they are suffering from a mysterious condition known as colony collapse disorder in which honeybees leave their hives but fail to return back there because of the environmental activities done by the human. It caused a tremendous drop in the number of bees around the globe. The main reasons behind it are massive use of pesticides in agriculture, trading of bees by the humans and electromagnetic radiation emitted by the portable devices. In this research paper, importance of honeybees and the reason behind their disappearance has been studied.

Pulmonary arterial hypertension (PAH) remains a mysterious killer that, like cancer, is characterized by tremendous complexity. PAH development occurs under sustained and persistent environmental stress, such as inflammation, shear stress, pseudo-hypoxia, and more. After inducing an initial death of the endothelial cells, these environmental stresses contribute with time to the development of hyper-proliferative and apoptotic resistant clone of cells including pulmonary artery smooth muscle cells, fibroblasts, and even pulmonary artery endothelial cells allowing vascular remodeling and PAH development. Molecularly, these cells exhibit many features common to cancer cells offering the opportunity to exploit therapeutic strategies used in cancer to treat PAH. In this review, we outline the signaling pathways and mechanisms described in cancer that drive PAH cells’ survival and proliferation and discuss the therapeutic potential of antineoplastic drugs in PAH.

Being the second leading cause of death globally, cancer has been a long-standing and rapidly evolving focus of biomedical research and practice in the world. A tremendous effort has been made to understand the origin of cancer cells, the formation of cancerous tissues, and the mechanism by which they spread and relapse, but the disease still remains mysterious. Here, we made an attempt to scrutinize evidences that indicate the role of stem cells in tumorigenesis and metastasis, and cancer relapse. We also looked into the influence of cancers on stem cells, which in turn represent a major constituent of tumor microenvironment. Based on current understandings of the properties of (cancer) stem cells and their relation to cancers, we can foresee that novel therapeutic approaches would become the next wave of cancer treatment.

Abstract This paper considers Christian responses to the problem of evil following Ṣalāḥ al-Dīn’s conquest of Jerusalem. Among Catholics, Audita Tremendi offered the orthodox response that God was punishing Christian sin. However, the logical conclusion of this view is that the Muslims were agents of God despite being “evil” for having captured Jerusalem from Christians. Twelfth-century theologians believed that God could use demons in the service of good. In response to 1187, while many Christians portrayed the Muslims as evil, some expressed that they were divine agents. Meanwhile, others murmured that Muslim gods (including, to some, Muḥammad) were superior to Christian ones; that the Christian god was apathetic, violent, or wicked; that the crusade of 1189–92 was against God’s will; and that crusaders were murderers. Thought-terminating clichés centring on the divine mysteries permitted the continuance of Christianity in the face of this profound theodical controversy.

Novel coronavirus 2019 (COVID-19) has shaken the existence of mankind worldwide, including that of New Zealand. In comparison to other countries, New Zealand has had a very low number of confirmed and probable cases as well as COVID-19-related deaths. New Zealand closed its borders and rapidly declared a stringent lockdown to eliminate COVID-19. The country’s ‘go hard, go early’ policy serves as an exemplar for the rest of the world to date. The mysterious nature of COVID-19 has caused tremendous stress and uncertainty leading to universal conflict between public health and state economy. Mental health services and non-government organisations have been proactive in the fight against COVID-19. Though there has been no significant rise in referrals to secondary mental health services to date (4 May 2020), a rapid surge in mental health presentations is widely anticipated. Telehealth may prove to be an efficient and cost-effective tool for the provision of future health services.

This article aims to analyze strange characters of tremendous character in the novel Tell Me Your Dream by Sidney Sheldon. Like any other Sheldon's previous novel, this novel tells an interesting, strange story with a woman as the main character. The writer also employs the knowledge about the strange character which apply in the novel that can be used to convey information. And last but not least, the writer can give a contribution to teaching prose. Based on the background of the topic, the writer states the exact problems of this study as follows: 1) how is the definition of mysterious characters generally? 2) What are the multitudinous characters of the main character shown in the novel? 3) What is the benefit of Tell me your Dream in teaching Prose? Based on the problem the writer states, the objectives of this study are as follows: 1) To describe the definition of the multitudinous character. 2) To give an explanation of the multitudinous characters of the main character that occurred in the novel. 3). This research applied data collection method with Content-analysis: The method of data analysis through some ways such as reading the novel, books and international journal, international thesis, classifying the data, and analyzing the novel's content. Based on the analysis, the writer summarized that Tell Me Your Dreams, a novel written by Sidney Sheldon in 1998, is one of the media of teaching prose, for example, analyzing a novel. The benefit of analyzing novels for Teaching Proses is an alternative fun way of studying prose.

Lalla Fatma N’Soumer (1830–1863) is one of the major heroines of Algerian resistance to the French colonial enterprise in the region of Kabylia. Her life and personality have been surrounded by myths and mysteries. Although her name is mentioned in colonial chronicles recording the conquest of Algeria, her exact role in leading a movement of local resistance to the French army doesn’t seem to be very clear. This paper aims at shedding light on this exceptional Berber woman through the analysis of French colonial sources describing these military campaigns—despite their obvious bias—and later secondary sources. This paper focuses on the spiritual dimension which has been somehow overlooked in the existing literature. It precisely describes her family background whereby her ancestry goes back to a marabout lineage affiliated with the Raḥmāniyya sufi order. It argues that her level of education in spiritual and religious matters was probably higher than what had been so far assumed. This article discusses how this spiritual aspect helps explain the tremendous popularity she enjoyed among her people in Kabylia, where she has been considered almost a saint.

Sat-Okh (Stanisław Supłatowicz) was an Indian-Polish writer who popularised the culture of North American Indigenous People in Poland during the Cold War and afterwards. His incredible biography evokes questions about the nature of his identity. Born of an Indian chief and a Polish mother around 1922 in the territory of Alberta, Sat-Okh grew up as a Shawnee. When his mother decided to return to Poland, he followed, but until his death in Gdańsk in 2003, Sat-Okh consistently identified with his Indigenous heritage. During WWII he escaped from a train to Auschwitz and joined the AK (The Home Army). He became famous for numerous books and short stories about his life with the Indians, which were translated into many languages. He was also strongly involved in the Polish-Indian Movement and promoted the culture of his native ancestors. This paper aims to present the life and work of Sat-Okh with regard to his mysterious identity. Recently, there has been some doubt whether Sat-Okh's biography is genuine. However, I would like to argue that Long Feather's phenomenon proves the fact that regardless of whether he was a true Shawnee or not, Sat-Okh chose to identify himself as Indian and consistently presented himself as one. He taught Poles about Indian traditions and gained a tremendous respect which has lasted until today.

There has been an exponential growth in the field of molecular oncology and cutting-edge research has enabled us to develop a better understanding of therapeutically challenging nature of cancer. Based on the mechanistic insights garnered from decades of research, puzzling mysteries of multifaceted nature of cancer have been solved to a greater extent. Our rapidly evolving knowledge about deregulated oncogenic cell signaling pathways has allowed us to dissect different oncogenic transduction cascades which play critical role in cancer onset, progression and metastasis. Pharmacological targeting of deregulated pathways has attracted greater than ever attention in the recent years. Henceforth, discovery and identification of high-quality biologically active chemicals and products is gaining considerable momentum. There has been an explosion in the dimension of natural product research because of tremendous potential of chemopreventive and pharmaceutical significance of natural products. Schisandrin is mainly obtained from Schisandra chinensis. Schisandrin has been shown to be effective against different cancers because of its ability to inhibit/prevent cancer via modulation of different cell signaling pathways. Importantly, regulation of non-coding RNAs by schisandrin is an exciting area of research that still needs detailed and comprehensive research. However, we still have unresolved questions about pharmacological properties of schisandrin mainly in context of its regulatory role in TGF/SMAD, SHH/GLI, NOTCH and Hippo pathways.

Peter Mayne’s A Year in Marrakesh (1953) places itself as one of the eminent Western travel narratives where the cultural space is constructed through a set of implications that glorify Western Orientalist ideology towards the Orient. Western travel narratives on this region of the world have always been loaded with tremendous representations where the constructed exotic plays a focal role. In his turn, Mayne declares his loyalty to this Western tradition given that his construction of the cultural space in Morocco is totally based on a strand of mysterious and exotic images. Therefore, this paper aims to locate the sites where the cultural space is mysteriously constructed within A Year in Marrakesh providing reasonable interpretations of such embodiment of the exotic. The main question here revolves around the assumption that the cultural space is taken by Mayne as one of the props on which the cultural otherness is contextualized for the sake of constructing the mysteriousness of Morocco. The qualitative methodology is used in this study as long as the ultimate aim is to deeply assess the extent to which the concept of Orientalism appears as a paradigm by which such construction takes place in the novel. The results of this paper highlight an Orientalist manipulation within A Year in Marrakesh by which Peter Mayne misrepresents the cultural privacy of spaces in terms of Hammam and Jamaa el-Fnaa.

Historical sites – mainly shrines, groves, and other places of significance – are common features of the ancient city of Ilé-Ifè. Some of the various traditions supporting the existence of these sites are full of mysteries that generate tremendous awe among the local inhabitants. However, the traditions give deeper insights into the history of the people and their leaders, some of who became deified. In the same vein, the traditions provide a goldmine of information on the culture and belief-system of the people, the challenges that they faced at different times, and how these challenges were surmounted. In most cases, the sites serve as a reminder of the exploits of the deified individuals with a view to appreciating their contributions to the existence or survival and growth of their community. This perhaps explains the rationale behind the celebration of festivals to commemorate the achievements of these legendary heroes and heroines. However, despite the efforts being made to preserve these sites, it would seem that some of them are changing in status due to certain developments taking place in society. Examined here are some of these sites, their nature and the changes that have taken place or are taking place, bringing out, in the process, the causative factors as well as the consequences. The essay concludes with an examination of the implications of this development on the study of Yorùbá history, culture, and religion.

Abstract The first urban culture of southern Levant collapsed and the first period of urbanisation of Canaan (Early Bronze Age I-III) terminated at around 4200 yrs BP. The Canaanites abandoned their walled cities, dispersed and underwent pastoralisation. However, the urban centres of southern Canaan were not destroyed. This fact may point to responsibility of the environmental factor and makes influence influence of anthropogenic factors uncertain, along with the most popular Amorite invasion/destruction hypothesis. A tremendous climatic change occurred at that time in many regions, affecting cultures and civilisations of the Ancient Near East and resulting in abandonment of cities, migrations and great civilizational changes. In southern Levant, virtually all cities were left in ruins with a mysterious exception in Transjordan where four cities: Aroer, Ader, Khirbet Iskander and Iktanu survived and existed throughout the period. Most probably when climatic conditions in Cisjordan excluded possibility of urban life, the ones in Transjordan conditions remained unchanged or altered in a very limited scale. It is now clear that after a period with quite humid and warm climate, the precipitation greatly diminished after 4200 yrs BP in a littoral zone of eastern Mediterranean. A part of Transjordan, probably due to presence of the Dead Sea that somehow created conditions that influenced precipitation, remained a climatic niche with decent rainfall that enabled concentration of population in and around big urban centres and continuation of urban civilisation. Warming in a littoral zone changed dew point temperature preventing formations of clouds above western slopes of Judean and Samarian Hills. Moist air, prevented from condensation was transported eastwards where it could reach ascending currents appearing over the Dead Sea. Masses of air with water vapour moving upwards could form rainy clouds in Transjordan.

Nowadays, during the education reform and the establishment of market relations, it remains important to preserve Ukrainian culture, the nation and its spiritual rebirth. The human conscience, in particular the teacher's conscience, is to become the basis for the implementation of these important issues. It is Important in the education of youth was, is and remains a unique figure of a teacher, which combines two powerful forces – intelligence and conscience. If the word "conscience" will be studied in the morphological structure, it will be noticed, that it has the root of "news", which means – to know, to get knowledge, to rely on its intellectual development and mind. Conscience – the main teacher's value, his/her noble quality, which combines honor, intellect, dignity, kindness, justice, decency, education of the younger generation. The teacher pays the tremendous job to develop these qualities in the students so that they become reliable, solid and steady their ethical foundation in the mature years. It is not without purpose people say, that in the young age people find or don't find their main qualities and basic values; in the mature age, they develop these qualities or don't develop, or maybe they lose them at all; in the old age they rely on their experience and acquired values throughout life, or suffer from a reproach of conscience without having an ethical support. This article deals with main moral principles in the process of assessing the students' knowledge level, which are inherent in the teacher's personality, his/her scientific views and beliefs, respect and warmth in the formation of students' humanity as a unique personality; the teacher's conscience, which opposes immoral phenomena in society and inspires students for good deeds, highlights the quality of their professional self-improvement, in particular thorough mastering of educational subjects, the deep knowledge of the nature mysteries; the student's conscience is considered; the ideals of the Goodness, the Beautiful and the Justice in each person's life are analyzed.

This article proposes that the component of the approach to God, being part of an ancient sequence of worship, is liturgically neglected and should therefore be revisited. The important contribution of Rudolf Otto with regard to the approach to God is acknowledged here, culminating in his well-known phrase “mysterium tremendum et fascinans”. In the light of this, some liturgical implications and perspectives are attended to, includ- ing liturgy as silence, awe, lament and affirmation.

Purpose Although tourist experience has been considerably studied, there is a dearth of research on spiritual cognitive stages in tourism literature. Therefore, this paper aims to reveal the dimensions of the tourist experience based on numinosity context. Design/methodology/approach A qualitative method is used by the etic and emic approach with an ethnographic background. After observation and active participation in the field, data was collected from 44 participants with semi-structured interviews to reveal their numinous experiences dimensions. Findings The results show that numinous experience in three categories (mysterium, tremendum and fascinans) can be evaluated in seven dimensions including history, story, awe, reverence, atmosphere, place-based and nature-based dimensions. Practical implications This study provides managerial and practical implications for tourism stakeholders to be aware of numinous experiences and to better manage sacred places. Originality/value This paper offers a novel tourist experience design in the numinous context to the best of the authors’ knowledge.

ABSTRACT With great apprehension, the world is now watching the birth of a novel pandemic already causing tremendous suffering, death, and disruption of normal life. Uncertainty and dread are exacerbated by the belief that what we are experiencing is new and mysterious. However, deadly pandemics and disease emergences are not new phenomena: they have been challenging human existence throughout recorded history. Some have killed sizeable percentages of humanity, but humans have always searched for, and often found, ways of mitigating their deadly effects. We here review the ancient and modern histories of such diseases, discuss factors associated with their emergences, and attempt to identify lessons that will help us meet the current challenge.

For centuries the thymus has remained a mysterious organ with largely unknown functions. The first demonstration of its crucial role in the development of the immune system was reported in 1961, when it was found that mice thymectomized at birth had poorly developed lymphoid tissues, impaired immune reactivities, and an inordinate susceptibility to develop infections. Although thymus lymphocytes were for a long time deemed immunoincompetent, it was shown in 1967 that they could respond to antigen by proliferating to give rise to a progeny of cells which did not secrete antibody (T cells), but which had a remarkable ability to induce bone marrow cells (B cells) to become antibody formers. This was the first unequivocal demonstration of a major division of labour among mammalian lymphocytes. Tremendous progress in our understanding of the function of the thymus and of the T cells derived from it followed. Distinct T cell subsets were characterized and shown to have an essential role in initiating and regulating a variety of immune responses. The ontogenetic events which occurred during their differentiation were mapped, and this allowed studies of the selection of the T cell repertoire. The major histocompatibility complex and associated peptides were shown to govern T cell selection and antigen activation, and the antigen-specific T cell receptor and the genes which code for it were characterized. Future studies should allow some insight into how to activate T cells more effectively for vaccination purposes, and how to switch them off to prevent autoimmune reactions and to induce tolerance to transplanted tissues.

AbstractSeveral well-preserved polychrome lacquered coffins were found in Zhang Dong family’s tombs in Shaanxi, China, rare in the history of archaeological excavation. In the lacquered coffins, a large amount of dark solid of suspected natural resin was unearthed with mysterious compositions and uses, exerting a tremendous fascination on archaeologists. In this work, a new method was explored for the identification of the suspected natural resin, mainly based on thermogravimetry (TG), elemental analysis (EA), scanning electron microscopy-energy dispersive spectrometry (SEM-EDS), matrix-assisted laser desorption ionisation time-of-flight mass spectrometry (MALDI-TOF-MS) and Fourier transform infrared spectrometry (FT-IR). The results suggested that the sample was mainly composed of organics with a content of 81.66% and little inorganics with a content of 2.21% by water excluded. Rosin with the main component of abietic acid (molecular formula C20H30O2) was identified as the principal component of the sample. Dehydrogenated abietic acid (DHA) and other oxides were also tested out. FT-IR confirmed the identification results. SEM revealed the rough surfaces evenly covered with holes of similar sizes. The use of this method directly obtained integral quasi-molecular ion fragments and molecular components of the sample. As a result, intricate multi-stage mass spectrometry is avoidable, which dramatically simplifies the analysis procedure. This approach is simple and effective for the identification of precious relic samples, requires no references, and has potential for the analysis of these kinds of unknown samples. Especially, for the first time, EA is used to identify natural resins from archaeological sites.

Creators and Creation Creation is a troubling word today, because it suggests an impossible act, indeed a miracle: the formation of something out of nothing. Today we no longer believe in miracles, yet we see all around us myriad acts which we routinely define as creative. Here, I am not referring to the artistic performances and works of gifted individuals, which have their own genealogy of creativity in the lineages of Western art. Rather, I am referring to the small, personal events that we see within the mediated spaces of the everyday (on the television screen, in magazines and newspapers) where lives are suddenly changed for the better through the consumption of products designed to fulfil our personal desires. In this paper, I want to explore the implications of thinking about everyday creativity as a modern cultural form. I want to suggest that not only is such an impossible possibility possible, but that its meaning has been at the centre of the desire to name, to gain status from, and to market the products of modern industrialisation. Furthermore I want to suggest that beyond any question of marketing rhetoric, we need to attend to this desire as the ghost of a certain kind of immanence which has haunted modernity and its projects from the very beginning, linking the great thoughts of modern philosophy with the lowliest products of modern life. Immanence, Purity and the Cogito In Descartes' famous Discourse on Method, the author-narrator (let's call him Descartes) recounts how he came about the idea of the thinking self or cogito, as the foundation of worldly knowledge: And so because sometimes our senses deceive us, I made up my mind to suppose that they always did. . . . I resolved to pretend that everything that had ever entered my mind was as false as the figments of my dreams. But then as I strove to think of everything false, I realized that, in the very act of thinking everything false, I was aware of myself as something real. (60-61) These well known lines are, of course, the beginnings of a remarkable philosophical enterprise, reaching forward to Husserl and beyond, in which the external world is bracketed, all the better to know it in the name of reason. Through an act of pretence ("I resolved to pretend"), Descartes disavows the external world as the source of certain knowledge, and, turning to the only thing left: the thought of himself—"I was aware of myself as something real"—makes his famous declaration, "I think therefore I am". But what precisely characterises this thinking being, destined to become the cogito of all modernity? Is it purely this act of self-reflection?: Then, from reflecting on the fact that I had doubts, and that consequently my existence was not wholly perfect, it occurred to me to enquire how I learned to think of something more perfect than myself, and it became evident to me that it must be through some nature which was in fact more perfect. (62) Descartes has another thought that "occurred to me" almost at the same moment that he becomes aware of his own thinking self. This second thought makes him aware that the cogito is not complete, requiring yet a further thought, that of a perfection drawn from something "more perfect than myself". The creation of the cogito does not occur, as we might have first surmised, within its own space of self-reflection, but becomes lodged within what might be called, following Deleuze and Guattari, a "plane of immanence" coming from the outside: "The plane of immanence is . . . an outside more distant than any external world because it is an inside deeper than any internal world: it is immanence" (59). Here we are left with a puzzling question: what of this immanence that made him aware of his own imperfection at the very moment of the cogito's inception? Can this immanence be explained away by Descartes' appeal to God as a state of perfection? Or is it the very material upon which the cogito is brought into existence, shaping it towards perfection? We are forced to admit that, irrespective of the source of this perfection, the cogito requires something from the outside which, paradoxically, is already on the inside, in order to create itself as a pure form. Following the contours of Descartes' own writing, we cannot account for modernity purely in terms of self-reflection, if, in the very act of its self-creation, the modern subject is shot through with immanence that comes from the outside. Rather what we must do is describe the various forms this immanence takes. Although there is no necessary link between immanence and perfection (that is, one does not logically depend on the other as its necessary cause) their articulation nevertheless produces something (the cogito for instance). Furthermore, this something is always characterised as a creation. In its modern form, creation is a form of immanence within materiality—a virtualisation of material actuality, that produces idealised states, such as God, freedom, reason, uniqueness, originality, love and perfection. As Bruno Latour has argued, the "modern critical stance" creates unique, pure objects, by purging the material "networks" from which they are formed, of their impurities (11-12). Immanence is characterised by a process of sifting and purification which brings modern objects into existence: "the plane of immanence . . . acts like a sieve" (Deleuze and Guattari 42). The nation, the state, the family, the autonomous subject, and the work of art—all of these are modern when their 'material' is purged of impurities by an immanence that 'comes from the outside' yet is somehow intrinsic to the material itself. As Zygmunt Bauman points out, the modern nation exists by virtue of a capacity to convert strangers into citizens; by purging itself of impurities inhabiting it from within but coming from the outside (63). The modern work of art is created by purging itself of the vulgarities and impurities of everyday life (Berman 30); by reducing its contingent and coincidental elements to a geometrical, punctual or serialised form. The modern nuclear family is created by converting the community-based connections between relatives and friends into a single, internally consistent self-reproducing organism. All of these examples require us to think of creativity as an act which brings something new into existence from within a material base that must be purged and disavowed, but which, simultaneously, must also be retained as its point of departure that it never really leaves. Immanence should not be equated with essence, if by essence we mean a substratum of materiality inherent in things; a quality or quiddity to which all things can be reduced. Rather, immanence is the process whereby things appear as they are to others, thereby forming themselves into 'objects' with certain identifiable characteristics. Immanence draws the 'I' and the 'we' into relations of subjectivity to the objects thus produced. Immanence is not in things; it is the thing's condition of objectivity in a material, spatial and temporal sense; its 'becoming object' before it can be 'perceived' by a subject. As Merleau-Ponty has beautifully argued, seeing as a bodily effect necessarily comes before perception as an inner ownership (Merleau-Ponty 3-14). Since immanence always comes from elsewhere, no intensive scrutiny of the object in itself will bring it to light. But since immanence is already inside the object from the moment of its inception, no amount of examination of its contextual conditions—the social, cultural, economic, institutional and authorial conditions under which the object was created—will bring us any closer to it. Rather, immanence can only be 'seen' (if this is the right word) in terms of the objects it creates. We should stop seeking immanence as a characteristic of objects considered in themselves, and rather see it in terms of a virtual field or plane, in which objects appear, positioned in a transversally related way. This field does not exist transcendentally to the objects, like some overarching principle of order, but as a radically exteriorised stratum of 'immaterial materiality' with a specific image-content, capable of linking objects together as a series of creations, all with the stamp of their own originality, individuality and uniqueness, yet all bound together by a common set of image relations (Deleuze 34-35). If, as Foucault argues, modern objects emerge in a "field of exteriority"—a complex web of discursive interrelations, with contingent rather than necessary connections to one another (Foucault 45)—then it should be possible to map the connections between these objects in terms of the "schema of correspondence" (74) detected in the multiplicities thrown up by the regularities of modern production and consumption. Commodities and Created Objects We can extend the idea of creation to include not only aesthetic acts and their objects, but also the commodity-products of modern industrialisation. Let's begin by plunging straight into the archive, where we might find traces of these small modern miracles. An illustrated advertisement for 'Hudson's Extract of Soap' appeared in the Illustrated Sydney News, on Saturday February 22nd, 1888. The illustration shows a young woman with a washing basket under her arm, standing beside a sign posted to a wall, which reads 'Remarkable Disappearance of all Dirt from Everything by using Hudson's Extract of Soap' (see Figure 1). The woman has her head turned towards the poster, as if reading it. Beneath these words, is another set of words offering a reward: 'Reward !!! Purity, Health, Perfection, Satisfaction. By its regular daily use'. Here we are confronted with a remarkable proposition: soap does not make things clean, rather it makes dirt disappear. Soap purifies things by making their impurities disappear. The claim made applies to 'everything', drawing attention to a desire for a certain state of perfection, exemplified by the pure body, cleansed of dirt and filth. The pure exists in potentia as a perfect state of being, realised by the purgation of impurities. Fig 1: Hudson's Soap. Illustrated Sydney News, on Saturday February 22nd, 1888 Here we might be tempted to trace the motivation of this advertisement to a concern in the nineteenth century for a morally purged, purified body, regulated according to bourgeois values of health, respectability and decorum. As Catherine Gallagher has pointed out, the body in the nineteenth century was at the centre of a sick society requiring "constant flushing, draining, and excising of various deleterious elements" (Gallagher 90). But this is only half the story. The advertisement offers a certain image of purity; an image which exceeds the immediate rhetorical force associated with selling a product, one which cannot be simply reduced to its contexts of use. The image of perfection in the Hudson's soap advertisement belongs to a network of images spread across a far-flung field; a network in which we can 'see' perfection as a material immanence embodied in things. In modernity, commodities are created objects par excellence, which, in their very ordinariness, bear with them an immanence, binding consumers together into consumer formations. Each act of consumption is not simply driven by necessity and need, but by a desire for self-transformation, embodied in the commodity itself. Indeed, self-transformation becomes one of the main creative processes in what Marshal Berman has identified as the "third" phase of modernity, where, paraphrasing Nietzsche, "modern mankind found itself in the midst of a great absence and emptiness of values and yet, at the same time, a remarkable abundance of possibilities" (Berman 21). Commodification shifts human desire away from the thought of the other as a transcendental reality remote from the senses, and onto a future oriented material plane, in which the self is capable of becoming an other in a tangible, specific way (Massumi 35 ff.). By the end of the nineteenth century, commodities had become associated with scenarios of self-transformation embedded in human desire, which then began to shape the needs of society itself. Consumer formations are not autonomous realms; they are transversally located within and across social strata. This is because commodities bear with them an immanence which always exceeds their context of production and consumption, spreading across vast cultural terrains. An individual consumer is thus subject to two forces: the force of production that positions her within the social strata as a member of a class or social grouping, and the force of consumption that draws her away from, or indeed, further into a social positioning. While the consumption of commodities remained bound to ideologies relating to the formation of class in terms of a bourgeois moral order, as it was in Britain, America and Europe throughout the nineteenth century, then the discontinuity between social strata and cultural formation was felt in terms of the possibility of self-transformation by moving up a class. In the nineteenth century, working class families flocked to the new photographic studios to have their portraits taken, emulating the frozen moral rectitude of the ideal bourgeois type, or scrimped and saved to purchase parlour pianos and other such cultural paraphernalia, thereby signalling a certain kind of leisured freedom from the grind of work (Sekula 8). But when the desire for self-transformation starts to outstrip the ideological closure of class; that is, when the 'reality' of commodities starts to overwhelm the social reality of those who make them, then desire itself takes on an autonomy, which can then be attached to multiple images of the other, expressed in imaginary scenarios of escape, freedom, success and hyper-experience. This kind of free-floating desire has now become a major trigger for transformations in consumer formations, linked to visual technologies where images behave like quasi-autonomous beings. The emergence of these images can be traced back at least to the mid-nineteenth century where products of industrialisation were transformed into commodities freely available as spectacles within the public spaces of exhibitions and in mass advertising in the press, for instance in the Great Exhibition of 1851 held at London's Crystal Palace (Richards 28 ff.) Here we see the beginnings of a new kind of object-image dislocated from the utility of the product, with its own exchange value and logic of dispersal. Bataille's notion of symbolic exchange can help explain the logic of dispersal inherent in commodities. For Bataille, capitalism involves both production utility and sumptuary expenditure, where the latter is not simply a calculated version of the former (Bataille 120 ff.) Sumptuary expenditure is a discharge of an excess, and not a drawing in of demand to match the needs of supply. Consumption thus has a certain 'uncontrolled' element embedded in it, which always moves beyond the machinations of market logic. Under these conditions, the commodity image always exceeds production and use, taking on a life of its own, charged with desire. In the late nineteenth century, the convergence of photography and cartes-de-visites released a certain scopophilic desire in the form of postcard pornography, which eventually migrated to the modern forms of advertising and public visual imagery that we see today. According to Suren Lalvani, the "onset of scopophilia" in modern society is directly attributable to the convergence of photographic technology and erotic display in the nineteenth century (Lalvani). In modern consumer cultures, desire does not lag behind need, but enters into the cycle of production and consumption from the outside, where it becomes its driving force. In this way, modern consumer cultures transform themselves by ecstasis (literally, by standing outside oneself) when the body becomes virtualised into its other. Here, the desire for self-transformation embodied in the act of consumption intertwines with, and eventually redefines, the social positioning of the subject. Indeed the 'laws' of capital and labour where each person or family group is assigned a place and regime of duties, are constantly undone and redefined by the superfluity of consumption, gradually gathering pace throughout the nineteenth and twentieth centuries. These tremendous changes operating throughout all capitalist consumer cultures for some time, do not occur in a calculated way, as if controlled by the forces of production alone. Rather, they occur through myriad acts of self-transformation, operating transversally, linking consumer to consumer within what I have defined earlier as a field of immanence. Here, the laws of supply and demand are inadequate to predict the logic of this operation; they only describe the effects of consumption after desire has been spent. Or, to put this another way, they misread desire as need, thereby transcribing the primary force of consumption into a secondary component of the production/labour cycle. This error is made by Humphrey McQueen in his recent book The Essence of Capitalism: the origins of our future (2001). In chapter 8, McQueen examines the logic of the consumer market through a critique of the marketeer's own notion of desire, embodied in the "sovereign consumer", making rational choices. Here desire is reduced back to a question of calculated demand, situated within the production/consumption cycle. McQueen leaves himself no room to manoeuvre outside this cycle; there is no way to see beyond the capitalist cycle of supply/demand which accelerates across ever-increasing horizons. To avoid this error, desire needs to be seen as immanent to the production/consumption cycle; as produced by it, yet superfluous to its operations. We need therefore to situate ourselves not on the side of production, but in the superfluity of consumption in order to recognise the transformational triggers that characterise modern consumer cultures, and their effects on the social order. In order to understand the creative impulse in modernity today, we need to come to grips with the mystery of consumption, where the thing consumed operates on the consumer in both a material and an immaterial way. This mystification of the commodity was, of course, well noted by Marx: A commodity is . . . a mysterious thing, simply because in it the social character of men's labour appears to them as an objective character stamped upon the product of that labour; because the relation of the producers to the sum total of their own labour is presented to them as a social relation, existing not between themselves, but between the products of their labour. (Marx 43, my emphasis) When commodities take on such a powerful force that their very presence starts to drive and shape the social relations that have given rise to them; that is, when desire replaces need as the shaping force of societies, then we are obliged to redefine the commodity and its relation to the subject. Under these conditions, the mystery of the commodity is no longer something to be dispelled in order to retrieve the real relation between labour and capital, but becomes the means whereby "men's labour" is actually shaped and formed as a specific mode of production. Eric Alliez and Michel Feher (1987) point out that in capitalism "the subjection framework which defines the wage relation has penetrated society to such an extent that we can now speak not only of the formal subsumption of labor by capital but of the actual or 'real' subsumption by capital of society as a whole" (345). In post-Fordist economic contexts, individuals' relation to capital is no longer based on subjection but incorporation: "space is subsumed under a time entirely permeated by capital. In so doing, they [neo-Fordist strategies] also instigate a regime in which individuals are less subject to than incorporated by capital" (346). In societies dominated by the subjection of workers to capital, the commodity's exchange value is linked strongly to the classed position of the worker, consolidating his interests within the shadow of a bourgeois moral order. But where the worker is incorporated into capital, his 'real' social relations go with him, making it difficult to see how they can be separated from the commodities he produces and which he also consumes at leisure: "If the capitalist relation has colonized all of the geographical and social space, it has no inside into which to integrate things. It has become an unbounded space—in other words, a space coextensive with its own inside and outside. It has become a field of immanence" (Massumi 18). It therefore makes little sense to initiate critiques of the capital relation by overthrowing the means of subjection. Instead, what is required is a way through the 'incorporation' of the individual into the capitalist system, an appropriation of the means of consumption in order to invent new kinds of selfhood. Or at the very least, to expose the process of self-formation to its own means of consumption. What we need to do, then, is to undertake a description of the various ways in which desire is produced within consumer cultures as a form of self-creation. As we have seen, in modernity, self-creation occurs when human materiality is rendered immaterial through a process purification. Borrowing from Deleuze and Guattari, I have characterised this process in terms of immanence: a force coming from the outside, but which is already inside the material itself. In the necessary absence of any prime mover or deity, pure immanence becomes the primary field in which material is rendered into its various and specific modern forms. Immanence is not a transcendental power operating over things, but that which is the very motor of modernity; its specific way of appearing to itself, and of relating to itself in its various guises and manifestations. Through a careful mapping of the network of commodity images spread through far-flung fields, cutting through specific contexts of production and consumption, we can see creation at work in one of its specific modern forms. Immanence, and the power of creation it makes possible, can be found in all modern things, even soap powder! References Alliez, Eric and Michel Feher. "The Luster of Capital." Zone 1(2) 1987: 314-359. Bauman, Zygmunt. Modernity and Ambivalence. Cambridge: Polity, 1991. Berman, Marshall. All That is Solid Melts into Air. New York: Penguin, 1982. Bataille, George. "The Notion of Expenditure." George Bataille, Visions of Excess: Selected Writings, 1927-1939. Trans. Alan Stoekl, Minneapolis: University of Minnesota Press, 1995, pp.116-129. Deleuze, Gilles. Foucault. Trans. Seán Hand, Minneapolis: University of Minnesota Press, 1988. Deleuze, Gilles and Félix Guattari. What is Philosophy? Trans. Hugh Tomlinson and Graham Burchill, New York: Columbia University Press, 1994. Descartes, Rene. Discourse on Method. Trans. Arthur Wollaston, Harmondsworth: Penguin, 1960. Foucault, Michel. The Archaeology of Knowledge. Trans. A.M. Sheridan Smith, London: Tavistock, 1972. Gallagher, Catherine. "The Body Versus the Social Body in the Works of Thomas Malthus and Henry Mayhew." The Making of the Modern Body: Sexuality and Society in the Nineteenth Century, Catherine Gallagher and Thomas Laqueur (Eds.), Berkeley: University of California Press, 1987: 83-106. Lalvani, Suren. "Photography, Epistemology and the Body." Cultural Studies, 7(3), 1993: 442-465. Latour, Bruno. We Have Never Been Modern. Trans. Catherine Porter, Cambridge, Mass.: Harvard University Press, 1993. Karl. Capital, A New Abridgement. David McLellan (Ed.), Oxford: Oxford University Press, 1995. Massumi, Brian. "Everywhere You Want to Be: Introduction to Fear" in Brian Massumi (Ed.). The Politics of Everyday Fear. Minneapolis: University of Minnesota Press, 1993: 3-37. Merleau-Ponty, Maurice. The Visible and the Invisible. Trans. Alphonso Lingis, Evanston: Northwest University Press, 1968. McQueen, Humphrey. The Essence of Capitalism: the Origins of Our Future. Sydney: Sceptre, 2001. Richards, Thomas. The Commodity Culture of Victorian England: Advertising and Spectacle, 1851-1914. Stanford: Stanford University Press, 1990. Sekula, Allan. "The Body and the Archive." October, 39, 1986: 3-65.

As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure become fuzzy and soft. At this point, the hold of the dream dissolves and Alice, awakening on the other side of the mirror, realises she is shaking the kitten. Queens have long been associated with ideas of transformation. As Alice is duly advised when she first looks out across the chequered landscape of the looking glass world, the rules of chess decree that a pawn may become a queen if she makes it to the other side. The transformation of pawn to queen is in accord with the fairy tale convention of the unspoiled country girl who wins the heart of a prince and is crowned as his bride. This works in a dual register: on one level, it is a story of social elevation, from the lowest to the highest rank; on another, it is a magical transition, as some agent of fortune intervenes to alter the determinations of the social world. But fairy tales also present us with the antithesis and adversary of the fortune-blessed princess, in the figure of the tyrant queen who works magic to shape destiny to her own ends. The Queen and the mirror converge in the cultural imaginary, working transformations that disrupt the order of nature, invert socio-political hierarchies, and flout the laws of destiny. In “Snow White,” the powers of the wicked queen are mediated by the looking glass, which reflects and affirms her own image while also serving as a panopticon, keep the entire realm under surveillance, to pick up any signs of threat to her pre-eminence. All this turbulence in the order of things lets loose a chaotic phantasmagoria that is prime material for film and animation. Two major film versions of “Snow White” have been released in the past few years—Mirror Mirror (2012) and Snow White and the Huntsman (2012)—while Tim Burton’s animated 3D rendition of Alice in Wonderland was released in 2010. Alice through the Looking Glass (2016) and The Huntsman: Winter’s War, the 2016 prequel to Snow White and the Huntsman, continue the experiment with state-of-the-art-techniques in 3D animation and computer-generated imaging to push the visual boundaries of fantasy. Perhaps this escalating extravagance in the creation of fantasy worlds is another manifestation of the ancient lore and law of sorcery: that the magic of transformation always runs out of control, because it disrupts the all-encompassing design of an ordered world. This principle is expressed with poetic succinctness in Ursula Le Guin’s classic story A Wizard of Earthsea, when the Master Changer issues a warning to his most gifted student: But you must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and Summoning can shake the balance of the world. It is dangerous, that power. (48)In Le Guin’s story, transformation is only dangerous if it involves material change; illusions of all kinds are ultimately harmless because they are impermanent.Illusions mediated by the mirror, however, blur the distinction Le Guin is making, for the mirror image supposedly reflects a real world. And it holds the seductive power of a projected narcissism. Seeing what we wish for is an experience that can hold us captive in a way that changes human nature, and so leads to dangerous acts with material consequences. The queen in the mirror becomes the wicked queen because she converts the world into her image, and in traditions of animation going back to Disney’s original Snow White (1937) the mirror is itself an animate being, with a spirit whose own determinations become paramount. Though there are exceptions in the annals of fairy story, powers of transformation are typically dark powers, turbulent and radically elicit. When they are mediated through the agency of the mirror, they are also the powers of narcissism and autocracy. Through a Glass DarklyIn her classic cultural history of the mirror, Sabine Melchior-Bonnet tracks a duality in the traditions of symbolism associated with it. This duality is already evident in Biblical allusions to the mirror, with references to the Bible itself as “the unstained mirror” (Proverbs 7.27) counterpointed by images of the mortal condition as one of seeing “through a glass darkly” (1 Corinthians 13.12).The first of these metaphoric conventions celebrates the crystalline purity of a reflecting surface that reveals the spiritual identity beneath the outward form of the human image. The church fathers drew on Plotinus to evoke “a whole metaphysics of light and reflection in which the visible world is the image of the invisible,” and taught that “humans become mirrors when they cleanse their souls (Melchior-Bonnet 109–10). Against such invocations of the mirror as an intermediary for the radiating presence of the divine in the mortal world, there arises an antithetical narrative, in which it is portrayed as distorting, stained, and clouded, and therefore an instrument of delusion. Narcissus becomes the prototype of the human subject led astray by the image itself, divorced from material reality. What was the mirror if not a trickster? Jean Delumeau poses this question in a preface to Melchior-Bonnet’s book (xi).Through the centuries, as Melchior-Bonnet’s study shows, these two strands are interwoven in the cultural imaginary, sometimes fused, and sometimes torn asunder. With Venetian advances in the techniques and technologies of mirror production in the late Renaissance, the mirror gained special status as a possession of pre-eminent beauty and craftsmanship, a means by which the rich and powerful could reflect back to themselves both the self-image they wanted to see, and the world in the background as a shimmering personal aura. This was an attempt to harness the numinous influence of the divinely radiant mirror in order to enhance the superiority of leading aristocrats. By the mid seventeenth century, the mirror had become an essential accessory to the royal presence. Queen Anne of Austria staged a Queen’s Ball in 1633, in a hall surrounded by mirrors and tapestries. The large, finely polished mirror panels required for this kind of display were made exclusively by craftsmen at Murano, in a process that, with its huge furnaces, its alternating phases of melting and solidifying, its mysterious applications of mercury and silver, seemed to belong to the transformational arts of alchemy. In 1664, Louis XIV began to steal unique craftsmen from Murano and bring them to France, to set up the Royal Glass and Mirror Company whose culminating achievement was the Hall of Mirrors at Versailles.The looking glass world of the palace was an arena in which courtiers and visitors engaged in the high-stakes challenge of self-fashioning. Costume, attitude, and manners were the passport to advancement. To cut a figure at court was to create an identity with national and sometimes international currency. It was through the art of self-fashioning that the many princesses of Europe, and many more young women of title and hereditary distinction, competed for the very few positions as consort to the heir of a royal house. A man might be born to be king, but a woman had to become a queen.So the girl who would be queen looks in the mirror to assess her chances. If her face is her fortune, what might she be? A deep relationship with the mirror may serve to enhance her beauty and enable her to realise her wish, but like all magical agents, the mirror also betrays anyone with the hubris to believe they are in control of it. In the Grimm’s story of “Snow White,” the Queen practises the ancient art of scrying, looking into a reflective surface to conjure images of things distant in time and place. But although the mirror affords her the seer’s visionary capacity to tell what will be, it does not give her the power to control the patterns of destiny. Driven to attempt such control, she must find other magic in order to work the changes she desires, and so she experiments with spells of self-transformation. Here the doubleness of the mirror plays out across every plane of human perception: visual, ethical, metaphysical, psychological. A dynamic of inherent contradiction betrays the figure who tries to engage the mirror as a servant. Disney’s original 1937 cartoon shows the vain Queen brewing an alchemical potion that changes her into the very opposite of all she has sought to become: an ugly, ill-dressed, and impoverished old woman. This is the figure who can win and betray trust from the unspoiled princess to whom the arts of self-fashioning are unknown. In Tarsem Singh’s film Mirror Mirror, the Queen actually has two mirrors. One is a large crystal egg that reflects back a phantasmagoria of palace scenes; the other, installed in a primitive hut on an island across the lake, is a simple looking glass that shows her as she really is. Snow White and the Huntsman portrays the mirror as a golden apparition, cloaked and faceless, that materialises from within the frame to stand before her. This is not her reflection, but with every encounter, she takes on more of its dark energies, until, in another kind of reversal, she becomes its image and agent in the wider world. As Ursula Le Guin’s sage teaches the young magician, magic has its secret economies. You pay for what you get, and the changes wrought will come back at you in ways you would never have foreseen. The practice of scrying inevitably leads the would-be clairvoyant into deeper levels of obscurity, until the whole world turns against the seer in a sequence of manifestations entirely contrary to his or her framework of expectation. Ultimately, the lesson of the mirror is that living in obscurity is a defining aspect of the human condition. Jorge Luis Borges, the blind writer whose work exhibits a life-long obsession with mirrors, surveys a range of interpretations and speculations surrounding the phrase “through a glass darkly,” and quotes this statement from Leon Bloy: “There is no human being on earth capable of declaring with certitude who he is. No one knows what he has come into this world to do . . . or what his real name is, his enduring Name in the register of Light” (212).The mirror will never really tell you who you are. Indeed, its effects may be quite the contrary, as Alice discovers when, within a couple of moves on the looking glass chessboard, she finds herself entering the wood of no names. Throughout her adventures she is repeatedly interrogated about who or what she is, and can give no satisfactory answer. The looking glass has turned her into an estranged creature, as bizarre a species as any of those she encounters in its landscapes.Furies“The furies are at home in the mirror,” wrote R. S. Thomas in his poem “Reflections” (265). They are the human image gone haywire, the frightening other of what we hope to see in our reflection. As the mirror is joined by technologies of the moving image in twentieth-century evolutions of the myth, the furies have been given a new lease of life on the cinema screen. In Disney’s 1937 cartoon of Snow White, the mirror itself has the face of a fury, which emerges from a pool of blackness like a death’s head before bringing the Queen’s own face into focus. As its vision comes into conflict with hers, threatening the dissolution of the world over which she presides, the mirror’s face erupts into fire.Computer-generated imaging enables an expansive response to the challenges of visualisation associated with the original furies of classical mythology. The Erinyes are unstable forms, arising from liquid (blood) to become semi-materialised in human guise, always ready to disintegrate again. They are the original undead, hovering between mortal embodiment and cadaverous decay. Tearing across the landscape as a flock of birds, a swarm of insects, or a mass of storm clouds, they gather into themselves tremendous energies of speed and motion. The 2012 film Snow White and the Huntsman, directed by Rupert Sanders, gives us the strongest contemporary realisation of the archaic fury. Queen Ravenna, played by Charlize Theron, is a virtuoso of the macabre, costumed in a range of metallic exoskeletons and a cloak of raven’s feathers, with a raised collar that forms two great black wings either side of her head. Powers of dematerialisation and rematerialisation are central to her repertoire. She undergoes spectacular metamorphosis into a mass of shrieking birds; from the walls around her she conjures phantom soldiers that splinter into shards of black crystal when struck by enemy swords. As she dies at the foot of the steps leading up to the great golden disc of her mirror, her face rapidly takes on the great age she has disguised by vampiric practices.Helena Bonham Carter as the Red Queen in Burton’s Alice in Wonderland is a figure midway between Disney’s fairy tale spectre and the fully cinematic register of Theron’s Ravenna. Bonham Carter’s Queen, with her accentuated head and pantomime mask of a face, retains the boundaries of form. She also presides over a court whose visual structures express the rigidities of a tyrannical regime. Thus she is no shape-shifter, but energies of the fury are expressed in her voice, which rings out across the presence chamber of the palace and reverberates throughout the kingdom with its calls for blood. Alice through the Looking Glass, James Bobin’s 2016 sequel, puts her at the centre of a vast destructive force field. Alice passes through the mirror to encounter the Lord of Time, whose eternal rule must be broken in order to break the power of the murdering Queen; Alice then opens a door and tumbles in free-fall out into nothingness. The place where she lands is a world not of daydream but of nightmare, where everything will soon be on fire, as the two sides in the chess game advance towards each other for the last battle. This inflation of the Red Queen’s macabre aura and impact is quite contrary to what Lewis Carroll had in mind for his own sequel. In some notes about the stage adaptation of the Alice stories, he makes a painstaking distinction between the characters of the queen in his two stories.I pictured to myself the Queen of Hearts as a sort of embodiment of ungovernable passion—a blind and aimless Fury. The Red Queen I pictured as a Fury, but of another type; her passion must be cold and calm—she must be formal and strict, yet not unkindly; pedantic to the 10th degree, the concentrated essence of governesses. (86)Yet there is clearly a temptation to erase this distinction in dramatisations of Alice’s adventures. Perhaps the Red Queen as a ‘not unkindly’ governess is too restrained a persona for the psychodynamic mythos surrounding the queen in the mirror. The image itself demands more than Carroll wants to accord, and the original Tenniel illustrations give a distinctly sinister look to the stern chess queen. In their very first encounter, the Red Queen contradicts every observation Alice makes, confounds the child’s sensory orientation by inverting the rules of time and motion, and assigns her the role of pawn in the game. Kafka or Orwell would not have been at all relaxed about an authority figure who practises mind control, language management, and identity reassignment. But here Carroll offers a brilliant modernisation of the fairy story tradition. Under the governance of the autocratic queen, wonderland and the looking glass world are places in which the laws of science, logic, and language are overturned, to be replaced by the rules of the queen’s games: cards and croquet in the wonderland, and chess in the looking glass world. Alice, as a well-schooled Victorian child, knows something of these games. She has enough common sense to be aware of how the laws of gravity and time and motion are supposed to work, and if she boasts of being able to believe six impossible things before breakfast, this signifies that she has enough logic to understand the limits of possibility. She would also have been taught about species and varieties and encouraged to make her own collections of natural forms. But the anarchy of the queen’s world extends into the domain of biology: species of all kinds can talk, bodies dissolve or change size, and transmutations occur instantaneously. Thus the world-warping energies of the Erinyes are re-imagined in an absurdist’s challenge to the scientist’s universe and the logician’s mentality.Carroll’s instinct to tame the furies is in accord with the overall tone and milieu of his stories, which are works of quirky charm rather than tales of terror, but his two queens are threatening enough to enable him to build the narrative to a dramatic climax. For film-makers and animators, though, it is the queen who provides the dramatic energy and presence. There is an over-riding temptation to let loose the pandemonium of the original Erinyes, exploiting their visual terror and their classical association with metamorphosis. FashioningThere is some sociological background to the coupling of the queen and the mirror in fairy story. In reality, the mirror might assist an aspiring princess to become queen by enchanting the prince who was heir to the throne, but what was the role of the looking glass once she was crowned? Historically, the self-imaging of the queen has intense and nervous resonances, and these can be traced back to Elizabeth I, whose elaborate persona was fraught with newly interpreted symbolism. Her portraits were her mirrors, and they reflect a figure in whom the qualities of radiance associated with divinity were transferred to the human monarch. Elizabeth developed the art of dressing herself in wearable light. If she lacked for a halo, she made up for it with the extravagant radiata of her ruffs and the wreaths of pearls around her head. Pearls in mediaeval poetry carried the mystique of a luminous microcosm, but they were also mirrors in themselves, each one a miniature reflecting globe. The Ditchely portrait of 1592 shows her standing as a colossus between heaven and earth, with the changing planetary light cycle as background. This is a queen who rules the world through the mediation of her own created image. It is an inevitable step from here to a corresponding intervention in the arrangement of the world at large, which involves the armies and armadas that form the backdrop to her other great portraits. And on the home front, a regime of terror focused on regular public decapitations and other grisly executions completes the strategy to remaking the world according to her will. Renowned costume designer Eiko Ishioka created an aesthetic for Mirror Mirror that combines elements of court fashion from the Elizabethan era and the French ancien régime, with allusions to Versailles. Formality and mannerism are the keynotes for the palace scenes. Julia Roberts as the Queen wears a succession of vast dresses that are in defiance of human scale and proportion. Their width at the hem is twice her height, and 100,000 Svarovski crystals were used for their embellishment. For the masked ball scene, she makes her entry as a scarlet peacock with a high arching ruff of pure white feathers. She amuses herself by arranging her courtiers as pieces on a chess-board. So stiffly attired they can barely move more than a square at a time, and with hats surmounted by precariously balanced ships, they are a mock armada from which the Queen may sink individual vessels on a whim, by ordering a fatal move. Snow White and the Huntsman takes a very different approach to extreme fashioning. Designer Colleen Atwood suggests the shape-shifter in the Queen’s costumes, incorporating materials evoking a range of species: reptile scales, fluorescent beetle wings from Thailand, and miniature bird skulls. There is an obvious homage here to the great fashion designer Alexander McQueen, whose hallmark was a fascination with the organic costuming of creatures in feathers, fur, wool, scales, shells, and fronds. Birds were everywhere in McQueen’s work. His 2006 show Widows of Culloden featured a range of headdresses that made the models look as if they had just walked through a flock of birds in full flight. The creatures were perched on their heads with outstretched wings askance across the models’ faces, obscuring their field of vision. As avatars from the spirit realm, birds are emblems of otherness, and associated with metempsychosis, the transmigration of souls. These resonances give a potent mythological aura to Theron’s Queen of the dark arts.Mirror Mirror and Snow White and the Huntsman accordingly present strikingly contrasted versions of self-fashioning. In Mirror Mirror we have an approach driven by traditions of aristocratic narcissism and courtly persona, in which form is both rigid and extreme. The Queen herself, far from being a shape-shifter, is a prisoner of the massive and rigid architecture that is her costume. Snow White and the Huntsman gives us a more profoundly magical interpretation, where form is radically unstable, infused with strange energies that may at any moment manifest themselves through violent transformation.Atwood was also costume designer for Burton’s Alice in Wonderland, where an invented framing story foregrounds the issue of fashioning as social control. Alice in this version is a young woman, being led by her mother to a garden party where a staged marriage proposal is to take place. Alice, as the social underling in the match, is simply expected to accept the honour. Instead, she escapes the scene and disappears down a rabbit hole to return to the wonderland of her childhood. In a nice comedic touch, her episodes of shrinking and growing involve an embarrassing separation from her clothes, so divesting her also of the demure image of the Victorian maiden. Atwood provides her with a range of fantasy party dresses that express the free spirit of a world that is her refuge from adult conformity.Alice gets to escape the straitjacket of social formation in Carroll’s original stories by overthrowing the queen’s game, and with it her micro-management of image and behaviour. There are other respects, though, in which Alice’s adventures are a form of social and moral fashioning. Her opening reprimand to the kitten includes some telling details about her own propensities. She once frightened a deaf old nurse by shouting suddenly in her ear, “Do let’s pretend that I’m a hungry hyaena and you’re a bone!” (147). Playing kings and queens is one of little Alice’s favourite games, and there is more than a touch of the Red Queen in the way she bosses and manages the kitten. It is easy to laud her impertinence in the face of the tyrannical characters she meets in her fantasies, but does she risk becoming just like them?As a story of moral self-fashioning, Alice through the Looking Glass cuts both ways. It is at once a critique of the Victorian social straitjacket, and a child’s fable about self-improvement. To be accorded the status of queen and with it the freedom of the board is also to be invested with responsibilities. If the human girl is the queen of species, how will she measure up? The published version of the story excludes an episode known to editors as “The Wasp in a Wig,” an encounter that takes place as Alice reaches the last ditch before the square upon which she will be crowned. She is about to jump the stream when she hears a sigh from woods behind her. Someone here is very unhappy, and she reasons with herself about whether there is any point in stopping to help. Once she has made the leap, there will be no going back, but she is reluctant to delay the move, as she is “very anxious to be a Queen” (309). The sigh comes from an aged creature in the shape of a wasp, who is sitting in the cold wind, grumbling to himself. Her kind enquiries are greeted with a succession of waspish retorts, but she persists and does not leave until she has cheered him up. The few minutes devoted “to making the poor old creature comfortable,” she tells herself, have been well spent.Read in isolation, the episode is trite and interferes with the momentum of the story. Carroll abandoned it on the advice of his illustrator John Tenniel, who wrote to say it didn’t interest him in the least (297). There is interest of another kind in Carroll’s instinct to arrest Alice’s momentum at that critical stage, with what amounts to a small morality tale, but Tenniel’s instinct was surely right. The mirror as a social object is surrounded by traditions of self-fashioning that are governed by various modes of conformity: moral, aesthetic, political. Traditions of myth and fantasy allow wider imaginative scope for the role of the mirror, and by association, for inventive speculation about human transformation in a world prone to extraordinary upheavals. ReferencesBorges, Jorge Luis. “Mirrors of Enigma.” Labyrinths: Selected Stories and Other Writings. Eds. Donald A. Yates and James Irby. New York: New Directions, 2007. 209–12. Carroll, Lewis. Alice through the Looking Glass. In The Annotated Alice. Ed. Martin Gardner. London: Penguin, 2000.The King James Bible.Le Guin, Ursula. The Earthsea Quartet. London: Penguin, 2012.Melchior-Bonnet, Sabine. The Mirror: A History. Trans. Katherine H. Jewett. London: Routledge, 2014.Thomas, R.S. “Reflections.” No Truce with the Furies, Collected Later Poems 1988–2000. Hexham, Northumberland: Bloodaxe, 2011.