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Sacred music acts as a service for liturgy and is in fact the service for faith mysteries. So if you want to say something reasonable from a theological point of view on the theme: sacred music, its elements and ways of manifestation you have to begin with understanding of the mystery in the faith of the Church and in the theology. This article treats therefore of the mentioned above. In this way there is emphasized that if you talk about sacred music you can speak about it only on the basis of faith in the mystery thus creating the right spiritual climate in which the music can be experienced and further creatively developed.There is paid particular attention to the issue of worship being the appropriate environment to use sacred music and the reference point for its creation. The point is the music is supposed to serve in deeper experiencing of faith mysteries in worship. The final conclusion is as follows: the mystery, whose sacred music is in fact on service, is the mystery of „spirit and truth” (Jn 4, 23). If sacred music subordinates to spirit and truth of the faith mystery and does not treat itself as another reality, the music will be always open to the mystery realizing its the most appropriate function to lead a man to joy in God, whose fullness is achieved in an attitude of adoration.

This article uses the photographer William Gedney's visit to Bethlehem, Pennsylvania, in 1975 to consider three aspects of urban touring. First, Gedney's appreciation of Bethlehem's aesthetics derived from his adoration of Walker Evans's well-known 1935 photo from Bethlehem. Gedney mimicked Evans's moves forty years later, much like fringe tourists interested in urban decay in the twenty-first century study each other's images to establish valuable sites and styles. Second, Gedney's visit remained largely disconnected from the variety of economic and demographic change that occurred locally in the sixties and seventies. His focus on surfaces in his photography was echoed by his surface contact with the city itself. Finally, I argue that his photographs should be interpreted in relation to his previous work in the United States and India. Gedney's trip provides an opportunity to rework narratives of urban decline in the twentieth century.

A miniature eulogia token in the collection of the British Museum was originally listed in the register as depicting Christ’s Ascension into Heaven, yet its composition incorporates features that evoke images of the Adored Christ. This paper analyzes the iconography on a number of comparable Late Antique pilgrimage eulogia produced in the Levant, revealing that this unique token would more accurately be defined as the Adoration of Christ in Majesty. The token also provides evidence of the prophylactic and apotropaic properties attributed to blessings of holy soil from sacred sites. The unusual composition of the artefact considered here offers a rare insight into the developing iconography displayed on Late Antique pilgrimage eulogia.

A Bathing of the Christ Child (fig. 5-6) is reconstructed from two fragments, one in the Chiostro di Sant’Apollonia of the Museo Diocesano di Venezia and the other in the Galleria Franchetti alla Ca’ d’Oro. These sculptures in the round belong to a large Nativity Cycle in pietra d’Aurisina that was carved in Venice during the second quarter of the 13th century. A number of pieces, including the Adoration of the Magi in the Seminario Patriarcale di Venezia (fig. 3) and the Dream of Joseph on the facade of San Marco (fig. 4), are still preserved. They have been compared with the same scenes on the portal of the Cathedral of St. Lawrence in Trogir (fig. 1-2), which an inscription records being carved by Radovan in 1240. The comparison between the Bathing of the Christ Child, which plays a major role in Radovan’s Nativity, and the Bathing in Venice calls for a reassessment of the connections between the portal of the Cathedral of St. Lawrence and the Nativity Cycle from San Marco. The article argues that the ...

How is admiration different from adoration? We provided one answer to this question by examining the pathways through which admiration and adoration linked to self-expansion in a questionnaire and an experimental (autobiographical recall of emotion episodes) study. Both emotions were associated with increased potential efficacy to accomplish goals (i.e., self-expansion), but different action tendencies accounted for these links. While our emotion inductions did not successfully distinguish between admiration and adoration, we could statistically disentangle their effects through mediator models. In both studies, self-reported admiration linked to self-expansion through the tendency to emulate admired others. Adoration related to self-expansion through the tendency to affiliate with adored others. These findings were obtained after controlling for other emotions in response to the target person (awe, love, hope, benign envy) and mutuality of the relationship. Our findings also suggest that considering specific emotions (rather than undifferentiated positive affect) helps uncover different pathways to self-expansion.

This study examined the semantic organization of "sonkei" (a feeling of respect) and respect-related emotion words such as "awe" and "admiration" in Japanese university students. Native Japanese university students rated the semantic similarity of 153 pairs of 18 respect-related words having been collected from synonym dictionaries. Hierarchical cluster analysis of similarity ratings revealed two main distinctions at the highest level of abstraction: "person-focus respect, emotional attitude" (sustained respect for a particular person considered to be superior) and "action-focus respect, emotional state" (temporal respect for a praiseworthy action). The former included three basic categories: (a) respect mingled with mild love; (b) idolatry (worship and adoration); and (c) respect mingled with fear (awe). The latter included two basic categories: (d) admiration and (e) respect mingled with surprise (wonder). The word "sonkei" was included in category (a). Also, multidimensional scaling revealed three dimensions of respect-related words: focus, valence, and self-oblivion. These findings suggest that for Japanese university students, respect is typically a kind of emotional attitude, but they sometimes experience respect as an emotional state ("state respect"). Language: ja

This article argues that a number of ivories in Denmark - exquisite representatives of the ‘year 1200 style’- are the work of a French or at least French-managed team of imagiers who would have been summoned to the country c.1220 and who took a leading role in gothicizing Danish polychrome wooden sculpture. Such a French (and not English) connection exemplifies well-attested contacts between elites of the two kingdoms. Two new discoveries are here brought forward as evidence: first, an Adoration group that can be linked to the learned Archbishop Anders Sunesen of Lund, who studied theology and philosophy in Paris, as well as law at Bologna and Oxford. Secondly, the enigmatic Herlufsholm crucifix figure, which can be linked persuasively to a huge wooden crucifixion group (mostly burned in 1806) formerly in Roskilde Cathedral, where both written and stylistic evidence as well as the cathedral architecture itself speaks for a marked French impulse in the first quarter of the thirteenth century.

Particularmente en los siglos XII y XIII, la devoción a los Reyes Magos asume rasgos de una piedad más sensible que permite precisar los constituyentes básicos de su leyenda tal cual la conocemos hoy. La manifestación literaria hispánica de la leyenda de los Reyes Magos en ese tiempo se concentra solo en dos testimonios: el Auto de los Reyes Magos y el Libro de los tres reyes de Oriente, cuyo análisis comparativo distingue al debate como la herramienta estructural unificadora del tema de la búsqueda de la verdad y la práctica de la caridad en ambas obras. La concurrencia de elementos escénicos, iconográficos y específicamente literarios en la representación de la Adoración, además de contextos manuscritos enriquecedores, propicia el desarrollo de esta temática textual asociada a la devoción afectiva preeminente en el período.

The hortus conclusus, or the “garden enclosed,” is a motif of biblical origin that images the Virgin Mary as a cloistered garden. Gaining popularity in the early medieval period, the Marian hortus conclusus remained the property of the Catholic church after the Reformation. There it briefly thrived, reaching its apogee in the early modern period as the eponymous subject of Henry Hawkins’ emblem book, Partheneia Sacra. The Virgin in (and as) the garden still lives a half-life today, continuing to appear without our recognizing it in medieval and Renaissance artwork, in hymns, in the names of flowers, and in prayers. Where it is known, the Marian hortus conclusus is usually perceived as a Catholic object of adoration, but its enduring nature suggests that it holds promise as a catholic subject of devotion as well.

This study examines the ethnoscape of TV dramas on three Korean nationwide television channels from 2005 to 2012 by breaking down how many non-Koreans appear and how they are represented. Among all TV dramas, 6.4% show non-Korean characters of which are generally supportive or small roles. These characters are categorized into four groups: adoration, sympathy, proximity, and other. The adoration group consists mostly of white males from USA or Europe that have professional careers such as medical doctors or lawyers and are positively represented with attractive appearance and nice character. On the other hand, the sympathy group is made up of Southeast, Central Asians and blacks. They are mainly represented as an underprivileged group: females and low-paid workers. In the proximity group are the Japanese and Chinese characters. The Japanese are often represented as rich people that are highly competent or are able to easily cooperate with Koreans. This result shows that Korean TV dramas provide racial and ethnic stereotypes. Though rarely, some dramas represent various lives of foreigners and racial others in Korea. This study contributes to the establishment of sound multiculturalism by analyzing representation of racial others in TV dramas and internalized stereotypes of foreigners in the diverse and multicultural Korean society.

This paper explores the interconnections between early modern natural history and European visual culture by focusing on the representation of a single motif, the bird of paradise, in one of Peter Paul Rubens's most celebrated paintings: the Adoration of the Magi (1609; 1628–29), now in the collection of the Museo del Prado in Madrid. Portrayed as an aigrette in the Black Magus's headwear, the bird of paradise is interpreted as a symbol of exoticism and geographical diversity, in a painting of unmistakable Counter-Reformist facture, produced in a context of tense religious and political disputes and conflicting commercial interests. By considering the representation of this motif in the Prado Adoration as well as in other works by Rubens and his contemporaries, this paper studies the contribution of artists and paintings to the dissemination of natural knowledge, and examines early modern visual culture as part of a wider context shaped by religiosity, political interests, the cult of the exotic and global trade.

The problem of acceptably presenting physical vestiges of the divine—relics, images, and the Eucharist—was a preoccupation in France during the thirteenth century. With the specters of idolatry and sacrilege haunting either end of the spectrum, viewers needed adequate visual cues to calibrate their modes of veneration. An examination of Gothic ivories, with their characteristic forms and microarchitectural frames, reveals one strategy devised to alert viewers to the presence of the sacred. Two Old Testament typologies, the Ark of the Covenant and the throne of Solomon, furnished a tripartite visual metaphor to prompt proper adoration of the divine.

Admiration and adoration have been considered as emotions with the power to change people, yet our knowledge of the specific nature and function of these emotions is quite limited. From an interdisciplinary perspective, we present a prototype approach to admiration and what has variously been labelled adoration, worship, or reverence. Both admiration and adoration contribute to the formation of personal and collective ideals, values, and identities, but their workings differ. We offer a detailed theoretical account of commonalities and differences in the appraisal patterns and action tendencies associated with the two emotions. This analysis reveals that admiration motivates the internalisation and emulation of ideals embodied by an outstanding role model. Adoration motivates adherence to the teachings and expectations of a meaning maker and benefactor perceived as superhuman or sacred. Thus, the primary function of admiration is to promote individual learning and change, whereas adoration primarily serves to bind communities together.

This paper offers an interpretation of statue Metropolitan Museum of Art 29.2.16 and analyzes the interplay of its two main components, the scribe and the baboon. The statue thematizes the intersection of writing, adoration and true judgment, while calling attention to points of tension between the figure of the scribe and the image of the baboon.

Male characters’ condemnations of Cressida in Act IV of Shakespeare’s Troilus and Cressida dramatize the problem of the relationship between Shakespeare’s heroine and Chaucer’s. The two women are artistic realization of the same legendary figure. But their personalities are so dissimilar that some scholars deny that Chaucer’s Criseyde had a significant influence on Shakespeare’s Cressida. Owing to the narrator’s adoration and sympathy toward Chaucer’s Criseyde, Criseyde unlike Shakespeare’s Cressida is characterized as a woman of almost mythological feminity. However, Criseyde’s basic qualities are undeniably reflected in Cressida in spite of the superficial differences between them. Shakespeare emphasizes two aspects of Cressida which distinguish her from Chaucer’s Criseyde: her lack of security and her high sexuality. The latter aspect has provided some critics with the ammunition to attack Cressida as a slut. However, considering her situation in a man’s world which may be even more precarious than Criseyde’s, Shakespeare’s Cressida is no more a wanton or a strumpet than Chaucer’s Criseyde. Rather than a two-dimensional figure of anti-feminist tradition, she is the complex product who reacts to the demands and expectations of the society at war which she belongs to. Together with Shakespeare’s emphasis on her precarious situation, his descriptions of Troilus enable a reader to interpret Cressida’s high sexuality not as definite proof of sluttishness but as a way of self-defense. Shakespeare’s Troilus is, not sexually innocent, not reverential toward Cressida, cares little about her honor. Furthermore, in her overall condition of tremendous vulnerability and helplessness in a Greek camp, Cressida’s opportunism can hardly be very surprising or disillusioning. Rather her futile reactions to man"s desire and helplessness deserves more pity and sympathy than blame.

* Introduction* Chapter One: A Question of Mentalite* Chapter Two: The Little Things That Matter* Chapter Three: One of the Crowd* Chapter Four: Back in the World of Ideas* Chapter Five: Lust, Passion, and Tactical Adoration* Chapter Six: A Change of Future* Chapter Seven: Sex, Love, and Other Demanding Parasites* Chapter Eight: Diplomacy au Village* Chapter Nine: Togo Post-Script* Chapter Ten: Constructing an Intimate Text* References

Algernon Bay is the owner of a small art gallery on Chicago’s north side. And “Clarity” begins the day after Alge has acquired a very unique and special painting. It is the day of his inaugural ritual, which he hopes can recalibrate his life. Approximately a year ago, his wife Esmeralda gave birth to a stillborn infant, and their marriage has slowly deteriorated since. Now it is on the cusp of completely collapsing. Alge and Esmeralda are finally desperate, and they take unthinkable measures to attain the feeling of love once more. “The Romantic Marvin Milkweed” is a story that features a quixotic librarian that is desperately in-love with one of his employees. When a drunken homeless man wanders into the library, Marvin views the situation as a chance to impress his beloved Zoe, but things go awry. Marvin ends up alienating her, and forcing her to quit. Then, Marvin hatches a plan to win Zoe’s heart by proving his undying devotion, and does something drastic to finally reveal the depth of his adoration.

Critics analyzing Gothic literature have often pointed to the dubious appeal of Catholicism in Gothic texts. The power of Catholicism was seductive to Gothic New England women writers, who could momentarily break away from the prescribed roles or conventional perspectives imposed upon them. Grace Greenwood, a mid nineteenth-century American writer traveling through Europe, found the appeal of Catholicism tantalizing. References to the liberating aspects of Catholicism in New England women's Gothic inevitably lead to the opposite extreme, to discussions of slavery, but they also paradoxically point a way out of the quagmire of servitude within a patriarchal system. Catholicism becomes the source of Gothic horror, in its association with slavery, but it also serves, perversely enough, as a way out of the Gothic horror the institution has created. The tyrannical rigid church of patriarchs is not the maternal church of the woman who would appreciate and celebrate the physical charm, intuition, and adoration of a mother goddess.

It is evident that animal companions have a deep capacity for acceptance, adoration, attention, forgiveness, and unconditional love, thus, satisfying some of our greatest human needs. Pets also help humans to overcome or prevent a sense of isolation that is frequently experienced due to life struggles.

Title: Idolization In The School Age (Pop-Pantheon) Author: Zdeněk Ryba Department: Department of Psychology Supervizor: doc. PhDr. Miloš Kučera, CSc. The main theme of this thesis is basic-school-age children choice of idols. The work is a part of Miloš Kučera research at Faculty of Education UK and it follows up the Mikšíček (1999) and Kravcová (2008) conclusions in their diploma thesis and short Kučera's contribution. The goal of this thesis is to make a database of idols and to create models of categorization. Three models of categorization are searching for developmental and gender metamorphosis of children preferences. The idolization is embedded in Freud late theory of psychical development. The theoretical framework is made in the base of synthesis of previous authors conclusions, which are revised in empirical part. The basic and special types of attachment to idols are presented in the empirical part of thesis. The main method is qualitative evaluation of data in the base of emergence principle, it means the method of common features concentration to categories, which are quantified and processed by the statistic. The conclusion brings the main characteristic of boy and girl idolization.

This synopsis contains a range of accounts in English about the birth and infancy of Mary and of Jesus. They are set out in small units to demonstrate the development of these stories in non-canonical literature found in differing languages and cultures.

The eponymous working-class protagonist of bestselling Italian novel, Marina Bellezza (Silvia Avallone, Milan: Rizzoli, 2013), trades on her outstanding beauty by training hard to become a singer, and breaking into television talent contests. She is depicted as dedicated, but ruthlessly ambitious, dangerously promiscuous, and unreliable. In pathologizing Marina’s desire for celebrity as the product of a broken home, the novel is the latest product of an Italian media discourse that “spectacularizes” girlhood in relation to the female television celebrity. Sarah Projansky has described how the “spectacularization” of girlhood works in the US media, making anxiety and ambivalence, and (usually) an exclusive whiteness, the conditions of the girls’ appearance as “visual objects of display.” Projansky suggests that the anxious dichotomies between “adoration and denigration,” between the “can-do” girl of “Girlpower,” and the “at risk” vulnerable girl, structure contemporary interpretations of girlhood, in which the girl can easily move between the polarities and transform from “fabulous” into “scandal.”1 In the text’s “adoration” of Marina’s blonde good looks, and the “denigration” of her disregard for others’ feelings in order to get ahead, but also in the novel’s emphatic context of poor job prospects, we can read a distillation of the peculiarly Italian take on contemporary girlhood and female futures.

The key thing to keep in mind about honor is that it is understood as both a verb and a noun. To honor is the essence of worship, or, to the degree that it might be distinguished from adoration and veneration, at least the most important part of worship. If worship itself refers to the making or creating of value, then honor as a noun, as that almost elusive quality that we have sought to discern behind the various acts of being honorable, is simply worth: the worth or value that is implicitly present in anyone’s acts or deeds of honor. Worship itself has both formal and informal expressions. As a kind of nomenclature shorthand, formal worship is what we understand as ritual – something correctly and properly put together like a work of art or a religious rite. But more informally, ritual or worship may be understood as a good deed: assisting another, expressing gratitude, being kindly, contributing in some way to the human endeavor. Over many years of persistent contemplation on worship and especially on its informal aspects, I have come to recognize the pursuits of pleasure, productivity and generosity as the more spontaneous, ordinary and normal ways of honoring godhead, however it is conceived, and it is these three virtue-values and their pursuance that I refer to as the trivium of worship. It is these three qualities that are discussed in the present chapter. They are in part derivatives of the ethical traditions already examined – especially those of the classical tradition and are here suggested as continuations if not also expansions of the world’s forum of ethical debate. If as I have said honorable acts are based on recognizing the intrinsic value of all humans if not all sentient life and/or nature as our grounding matrix, does it follow that all people are honorable? Obviously not, since we are all equally capable of removing ourselves from commensurate behavior.

Though Western Rite Orthodox liturgies have been modified to remove elements of the rite which are grossly offensive to Orthodox theology, such as striking the filioque from the creed, and to make Orthodox theology more pronounced, such as adding a descending Spirit epiclesis, the majority of the liturgical texts remain unedited. However, this does allow certain unintended and longstanding elements to remain in the liturgy, even though they are directly contrary to the spirit of Orthodox teaching on the sacraments. Two obvious problems, related to one another, are the inclusion of the greater elevation, along with the ringing of bells, when the priest pronounces the verba during the Eucharistic prayer, and the inclusion of a liturgy for adoring the sacrament in Western Rite service books. This article argues that, in light of the specific history surrounding the elevation at the verba and the Orthodox custom regarding homage to the Eucharistic gifts, the retention of both is anomalous and should be eliminated for the sake of theological clarity.

The article treats the lasting relevance of the Magisterium of Blessed John Paul II during the Forty-sixth International Eucharistic Congress, held in the important Polish city of Wrocław, in 1997. The article highlights the originality of the theme of the Congress, namely, the important relationship binding together the celebration/adoration of the Eucharist and human freedom, while making appropriate cross-references to the same topic in other documents by the Slav Pope. Eucharistic orthopraxis is not only related to disinterested service in favour of one’s neighbour in commendable actions of diakonia, but also to the quest for freedom in the context of the respect of civil and social liberties and the exercise of religious freedom., peer-reviewed

The highest vocation of men, as well as of all creation, consists in this: to give glory to God, the Triune God, which means to worship Him and to adore Him. Mankind, fallen into sin and wounded by original sin, needs instruction and example for a true and authentic divine worship. The holy word of God reveals to men how to worship in the right manner, indicating the example of the heavenly worship, the worship of the Angels. The fullness of revelation, and also the fullness of the revelation concerning the right manner of divine worship, was brought by the incarnate Son of God, showing us and teaching us to ‘adore God in the Truth and in the Spirit’ (Jn. 4·23). The unbroken and organic liturgical tradition of the Church, whose privileged witnesses are the Holy Fathers and the so-called Gregorian Rite or the Extraordinary Form of the Roman Rite, always sought to worship God in such a manner, which expresses clearly the holiness and the mystery of the Divine Majesty and easily elevates the hearts o...

Straipsnyje analizuojama Jacques’o Ranciere’o aptarta sąsaja tarp nereprezentuojamos meno dimensijos ir nemąstomos politikos dimensijos. Paradigminiu tokios sąsajos pavyzdžiu Ranciere’as laiko Claude’o Lanzmanno filmą Shoah. Nereprezentuojamumo sąvoka įtraukia mus į diskusiją su kantiskąja didingumo samprata ir tos sampratos modifikacijomis Jeano Francois Lyotard’o filosofijoje. Lyotard’as perkelia didingumo sampratą į moderniojo meno kontekstą, apibrėždamas jį kaip negatyvios prezentacijos meną. Sis negatyvumas reiskia tiek nereprezentuojamą dimensiją moderniajame mene, tiek nemąstomą tam tikrų politinių įvykių, pavyzdžiui, holokausto, dimensiją. Priesingai siai didingumo adoravimo strategijai Giorgio Agambenas ir Georges’as Didi-Hubermanas teigia, kad nereprezentuojamumas sukuria patogų alibi, kuris atpalaiduoja nuo būtinybės gilintis į politines sių reiskinių priežastis. Knygoje Vaizdai nepaisant nieko Didi-Hubermanas provokatyviai atmeta formalius Lanzmanno filmo Shoah sprendimus ir atkakliai teigia būtinybe kurti ar prezentuoti vaizdus „nepaisant nieko“. Straipsnyje si priestara sprendžiama pasitelkiant Michaelio Haneke’s filmą Baltas kaspinas, kuriame įžvelgiama argumentų abiem ginco pusėms. Pagrindiniai žodžiai: didingumas, vaizduotė, reprezentacija, nereprezentuojamumas, holokaustas. POLITICAL EVENT AS THE UNREPRESENTABLE DIMENSION IN ART Audronė Žukauskaitė Summary This article reconsiders the interface between politics and aesthetics in Jacques Ranciere’s work. Ranciere claims that the unrepresentability in art in some specific cases is commensurate with the unthinkability of a political event. Ranciere finds the paradigmatic example of such commensurability in Claude Lanzmann’s film Shoah (1985). The discourse of the unrepresentable originates from the Kantian notion of the sublime and the subsequent modifications of this notion in Jean-Francois Lyotard’s philosophy. Lyotard displaces the sublime in the field of modern art, defining it as the art of negative presentation. This negativity refers both to the unrepresentable dimension in modern art and the unthinkable dimension of traumatic political events, such as the Holocaust. Contrary to this strategy of sublime adoration, Giorgio Agamben and Georges Didi-Huberman argue against the unrepresentable and claim the necessity “to stare at the unsayable”. For example, Didi-Huberman in his Images In Spite of All provocatively rejects the formal choices of Lanzmann’s Shoah and insists on the necessity to make or present images “in spite of all”. In my article, I want to build on this controversy by introducing into it Michael Haneke’s film The White Ribbon (2009), which plays on both sides: on the one hand, it uses the negative aesthetics of the sublime, very similar to that of Lanzmann’s film, and on the other hand, it examines violence present at the core of our everyday life. Keywords: the sublime, imagination, representation, the unrepresentable, Holocaust.

Representations of the Adoration of the Cross usually show the cross flanked by saints or angels, making up an imperial composition. I will concentrate on two groups of Adoration by Peter and Paul that directly and indirectly relate to Jerusalem. The first has an elevated Christogram as the object of veneration. Made in Rome in the second half of the fourth century, it may have been associated with the Apparition of the Cross reported by Cyril of Jerusalem in 351. The second, with an acclamation of a monumental cross, is an example of the decorated portable Palestinian art of the sixth and seventh centuries. I will argue that the two variations of a cross as the focus of a Herrscherbild composition reflect adoration and veneration of a place with a significant local memory of past history.

Carmen Sobalvarro (Nicaragua, 1908–194?), widely known during the 1930s as General Augusto Sandino’s “platonic” girlfriend, was the only female poet officially admitted into the Nicaraguan vanguard movement. Despite her significance to Nicaraguan politics and letters, until recently she has been virtually forgotten. In crafting her public persona, Sobalvarro combined traditional and modern stereotypes of womanhood, thus providing Central Americans with a viable model of women in literature and politics. Through her poetry and image, she also shored up the romantic notion of Sandino as a valiant general deserving of international respect and adoration, especially among female followers. In these ways, the poet serves as a significant case study of the cultural anxieties surrounding changing gender roles upon the arrival of the “modern” woman and a growing women’s movement in Nicaragua.

‘Prayer’ can be defined as ‘the offering, in public worship or private devotion, of petition, confession, adoration, or thanksgiving to God; also the form of words in which such an offering is made’ (cf. Cohn-Sherbok 2010). In addition to this simple definition it could be said that there are different forms of prayer: some are vocal and articulate and others are only mental in nature; some prayers are communal and liturgical and other prayers are spontaneous or at least composed by the one saying the prayer (cf. Stump 1999). Accordingly, it is evident that there are manifold intricacies involved in any characterisation of ‘prayer’. In this article my aims are twofold. First, I explore the implications of Martin Buber’s philosophy, particularly of his conception of God as Thou for our understanding of ‘prayer’; second, I will argue that Buber’s understanding of ‘prayer’ as dialogue serves as a way for the individual to seek reconciliation with itself, with others, and with God.

Sexual, social and employment success have been linked to the physical capital drawn from having aesthetic attributes of the socially idealised body. In certain workplace settings, such as health and fitness centres, the body becomes a mainstream commodity with physical capital affording the fitness worker a high degree of distinction and adoration as well as employment opportunities. The employment relationship is shaped by 'lookism', with both the employer and employee taking advantage of the fitness worker's idealised form. The worker's physical capital provides a walking billboard advertising the employer's products and services, while exposure to comparison and adoration provides a heightened sense of self-worth, distinction and celebrity. Fitness workers appear to be prepared to ignore poor employment conditions or trade-off standard entitlements for the alternative rewards that their physical capital brings.

Until 2000, Linda Sarsour, a Palestinian Muslim American and at that point a college student, had never worn a hijab. As she explains, she had also never felt the sting of discrimination directed at her Arab or Muslim identity. In fact, when Sarsour began to wear her religious headscarf, she was showered with both adoration and sincere interest. After September 11, however, her embrace of her cultural identity was no longer simply interesting to her American colleagues; it was now heavily identified with that of September 11 terrorists. In the face of discrimination that she now faced, Sarsour did not back down. This article traces her journey as an activist and a leader within the Arab American Association of New York. As she analyzes the repercussions of September 11, Sarsour suggests that the event made clear to her and other Arab Americans that they were not seen as a coordinated and politically organized community. Consequently, their new focus became one of civic engagement, allowing them to emerge at the forefront of discussions and debates in the wider community.

Research indicates that the endorsement of sexist ideology is linked to higher subjective wellbeing for both men and women. We examine gender differences in the rationalisations which drive this effect in an egalitarian nation (New Zealand). Results from a nationally representative sample (N = 6,100) indicated that the endorsement of Benevolent Sexism (BS) predicted life satisfaction through different mechanisms for men and women. For men, BS was directly associated with life satisfaction. For women, the palliative effect of BS was indirect and occurred because BS-ideology positioning women as deserving of men’s adoration and protection was linked to general perceptions of gender relations as fair and equitable, which in turn predicted greater levels of life satisfaction.

Piracy is the greatest threat facing the global music industry today. This study explores the effects of artist adoration and the perceived risk of being caught on the attitude and intention to engage in pirating a digital song among college students. The moderating effect of cultural environment factor is also examined. Experiments using between-group factorial designs were conducted in the United States and Taiwan. The results show that perceived risk of getting caught and cultural environment are important factors that can significantly affect the attitude and intention toward downloading unauthorized music. In addition, a two-way (Perceived Risk × Culture) and a three-way interaction in the model are also observed.

This article describes differences and similarities in conducting analytic individual and group psychotherapy in a 19-year-old single Indian Hindu woman who had recently immigrated to Melbourne. This case is complicated. Transference relationships between therapist and client arising from both eastern and western cultures had to be taken into consideration and required much self-questioning. Not only does the client present in a unique manner, but the entire case material presented is equally unusual. The acceptance of female sexuality in Indian culture expressed lovingly through dance and music by the client as dancer in her adoration of Hindu gods and goddesses is described. The therapist found herself in an unaccountable state of fear early in the therapy that she was later able to uncover and relate to an early encounter with a potentially unpredictable and violent tribe, the Hijras, who present with a rare form of sexual perversion. The case ends with healthy separation and individuation by the client.Este artículo describe diferencias y similitudes en la conducción de psicoterapia individual y grupal en una mujer hindú soltera de 19 ańos que había emigrado recientemente a Melbourne. Es un caso complicado. Hubo que tomar en consideración y auto-cuestionar mucho la relación transferencial entre terapeuta y cliente emergente de la cultura oriental y occidental. No solo se presenta la cliente de una forma única sino que todo el material del caso es igualmente inusual. Se describe la aceptación de la sexualidad femenina en la cultura india, amorosamente expresada a través de la danza y la música por la cliente en su baile de adoración a dioses y diosas hindúes. La terapeuta se encontró en un estado inexplicable de temor desde los comienzos de la terapia, que más tarde pudo descifrar y relacionar con un encuentro temprano con una tribu potencialmente impredectible y violenta, los Hijras, que presentan una extrańa forma de perversión sexual. El caso termina con una separación e individuación saludable por parte de la cliente.

This article intends to raise some considerations about the theme of otherness and seeks to identify aspects related to it in the short story “A Rosa Caramela”, published in the book Cada homem e uma raca (1998), by the Mozambican writer Mia Couto. Rosa Caramela is a unique character because she has a strange behavior and unusual attitudes. These attitudes, as the adoration of statues, cause estrangement to the people who live in the same place that Rosa and cause her exclusion from the community. These situations in the short story provide a fertile literary text to observe issues of otherness, the relation with the Other and construction of identity

The production of ivory objects flourished to an extraordinary extent in the Gothic period, especially in France: delicate statuettes, minutely carved diptychs and triptychs, mirror backs and caskets with secular scenes have survived in collections around the world. The only comprehensive survey of Gothic ivories, which inventoried over 1300 items, was published by Raymond Koechlin in his three-volume work Les Ivoires gothiques francais in 1924.1 Since then, however, many more ivories have surfaced in auction houses and in private and public collections; valuable articles and catalogues have been written; scientific examination and increasing expertise have all shed more light on these objects. Initiated in 2008 at the Courtauld Institute of Art in London, the Gothic Ivories Project is a 'Koechlin for the twenty-first century' and, as such, takes the form of a database rather than a printed book.2 It focuses on Gothic ivory sculpture made in Europe from about 1200 to about 1530, but also includes some bone pieces (excluding Embriachi), fifteenth-century engraved stag-horn saddles and later neo-Gothic pieces.Taking as a starting point the photographic resources of the Conway Library at the Courtauld, which represent over 1,500 ivory objects in private and public collections, the project subsequently began to collaborate with repository institutions to make this resource as comprehensive as possible. From the start, the generous support of key museums, homes to the largest collections of ivories of this period - such as the British Museum and the Victoria and Albert Museum in London, the Musee du Louvre and the Musee de Cluny in Paris, the Metropolitan Museum of Art, New York, and the Walters Art Museum, Baltimore - played an essential part in the success of this venture. Institutions, large and small, be they museums, cathedral treasuries or religious foundations, generously shared information and images and, thanks to their invaluable input, the website www.gothicivories.courtauld. ac.uk (fig. 1), launched in December 2010 with 750 objects, now contains detailed entries for over 3,800 pieces, illustrated with 10,600 images, from more than 300 collections in twenty different countries. However, with an estimated total of over 5,000 pieces, the project is still a work in progress, with numerous small collections and a few large ones yet to be added, the latter including the ivories of the Bayerisches Nationalmuseum in Munich and of the Hermitage Museum in St Petersburg.While the emphasis has been on public collections, the project is also collaborating with private collectors, and the auction houses Sotheby's and Christie's to record pieces sold in their rooms. Moreover, the user will find on the site a large number of objects whose current whereabouts are unknown, as well as pieces which have been lost, stolen or destroyed (searching for these words in the museum number field will bring the relevant results).3 As was to be feared, a large number of objects were destroyed in the turmoil of the Second World War.4 Ongoing contributions from documentation centres such as that of the Departement des Objets d'Art at the Louvre, and from repositories of historical photographs, such as the Mediatheque de l'Architecture du Patrimoine in France, the KIK/IRPA in Belgium, the Rheinisches Bildarchiv in Germany, or the Arxiu Mas in Spain, are all gradually enhancing the value of the site, and are helping to resurrect some of these lost pieces. In this endeavour, the popular nineteenth-century practice of making plaster casts of ivory carvings, although it submitted the original work to damaging treatment, is now proving extremely valuable, especially when the original has disappeared. This is the case of a diptych wing featuring the Adoration of the Magi formerly in the collection of Sir Andrew Fountaine (1676-1753): the plaster cast provides the only visual record of the piece, allowing it to be recognized should it resurface in a private collection or on the art market (fig. …

Common knowledge suggests that elections are won or lost based on demographics, finances, and other structural elements. Whether candidates win or lose, however, is a matter of action. Symbolic identification, metaphor, and an unfolding narrative—and how they are managed and interpreted in the flow of events—determine who will emerge victorious from the democratic struggle for power. The McCain campaign’s effort to cast Obama as a celebrity, with the hollow trivialities and self-aggrandizement of Paris Hilton and Britney Spears, proves to be one of the most dangerous episodes for the Obama campaign. In response, the Democrats must adjust the staging of Obama’s Thursday night acceptance speech in Denver as a performance of purpose and gravitas, rather than glitz and adoration.

Barak Obama, orator extraordinaire, the embodiment of the American success myth, ‘global’ prophet of the adoring masses and multi-media auratic figure, is the leading illustration of what is the expanded nexus of celebrity, spectacle and politics in the age of what Zygmund Bauman refers to as liquid modernity or ‘the era of disembedding without re-embedding’ (2001, p. 89). This is the era in which a traumatic sense of fear, uncertainty and transience defines one's relationship to the nation state, and social (media) centre, as they lose their economic singularity and cultural coherency and cohesiveness in a world system ever inter-connected and driven increasingly, incessantly by supra-corporate concerns and spectacular celebrity-based presentations. In this world of ‘togetherness dismantled’ (Bauman 2003, p. 119), the disenfranchised individual feels they cannot meet the trans-capital intensive, show reel-like, boundaryless world on solid ground. That adoration, or a liquefied definition of it, is key to...

Mike Kelley's 1987 assemblage More Love Hours Than Can Ever Be Repaid is a tapestry of tattered toys, handmade rag dolls, puppets, knit potholders, and stuffed animals sewn onto a matrix of afghan blankets mounted on canvas. The chaotic conglomeration of smiling faces and snuggly bodies offers a perverse surfeit of sappiness, a discomforting sense of hominess gone haywire. The work highlights the economics of gift-giving, in which pieces of thread and fabric are invested with deep emotional content—affection, adoration, sympathy, appreciation—to be passed on to friends, family members, and acquaintances, who are then indebted to return the favor. Offering too much sentimentality for one person to take, certainly more than can ever be repaid, Kelley's heap of discarded craft-items underscores the ubiquity of that system and the underlying social dynamics that sustain it.

The terrestrial dimension in the work of Kazantzakis, crowned by the paeans he sang to the infinite beauty of the earth and to human life rooted in the soil, is as intensely depicted as his momentous struggle to achieve spiritual ascent. Scattered in his writings we find innumerable passages on the fundamental importance of the material realm, combined with his humanistic commitment to mankind's terrestrial habitat—to live and "flower" in it; and his spiritual growth, the ascent, is crucially linked with and depends on the material base. Such passages, often of surging lyricism and ritual adoration, can provide for us today, for our threatened planet, not only inspiration for ecological concern and action, but also an ethical base that could strengthen the panoplies for such action. A selection of the best of such passages from his vast work could become an eco-pulsing gospel to serve vitally our struggle for survival. Passages from several of his works demonstrate the significance of the Kazantzakian embrace of the earth and suggest how it can inspire and nurture committed ecological action, especially if combined with his principle of χρέος/eυθύνη (dutiful service/responsibility), the foundation of his ethical humanism.