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Suffering and Evil in Nature: Comparative Responses from Ecstatic
Naturalism and Healing Cultures, edited by Joseph E. Harroff and
Jea Sophia Oh, provides many unique experiments in thinking through
the implications of ecstatic naturalism. This collection of essays
directly addresses the importance of values sustaining cultures of
healing and offers a variety of perspectives inducing radical hope
requisite for cultivating moral and political imaginings of
democracy-to-come as a regulative ideal. Through its invocation of
"healing cultures," the collection foregrounds the significance of
the active, gerundive, and processual nature of ecstatic naturalism
as a creative horizon for realizing values of intersubjective
flourishing, while also highlighting the significance of culture as
an always unfinished project of making discursive, interpretive and
ethical space open for the subaltern and voiceless. Each
contribution gives voice to the tensions and contradictions felt by
living participants in emergent communities of
interpretation-namely those who risk replacing authoritarian
tendencies and fascist prejudices with a faith in future-oriented
archetypes of healing to make possible truth and reconciliation
between oppressor and oppressed, victimizers and victims of
violence and trauma. These essays then let loose the radical hope
of healing from suffering in a ceaseless community of communication
within a horizon of creative democratic interpretation.
In this book, an ordinal phenomenological description of four modes
of nothingness in nature is made that becomes sharply open to
Spinoza's great divide between nature naturing and nature natured.
The former term refers to nature's unconscious dimension, while the
latter term denotes the innumerable orders of the world. Four types
of nothingness are described as they interact with the human
process. An important theme is the correlation between certain
kinds of religion and their built-in tendency toward extreme forms
of violence. Analyses of the psychoanalytic elements that make this
connection almost inevitable are made using the work of C.G. Jung,
and Wilhelm Reich. Otto Rank's work is used to describe the
phenomenon of genius as it creatively works with the community of
interpreters. A case study of Beethoven and his manic-depressive
disorder completes the analysis of Genius. Finally, the works of
Karl Jaspers and Nagarjuna are utilized to shed light on the
deepest form of nothingness.
What does it mean for nature to be sacred? Is anything supernatural
or even unnatural? Nature's Transcendence and Immanence: A
Comparative Interdisciplinary Ecstatic Naturalism discusses
nature's divinizing process of unfolding and folding through
East-West dialogues and interdisciplinary methodologies. Nature's
selving/god-ing processes are the sacred that is revealed as
nature's transcendent and immanent dimensions. Each chapter of
Nature's Transcendence and Immanence: A Comparative
Interdisciplinary Ecstatic Naturalism shares a part of nature's
sacred folds that are complexes within nature that have unusual
semiotic density. These discussions serve to help restore a better
relationship to nature as a whole through an innovative combination
of research and ideas from a variety of traditions and disciplines.
This collection not only introduces ecstatic naturalism and deep
pantheism as sacred practices of philosophy and theology, but also
invites a broader audience from a wide range of academic
disciplines such as neuro-psychoanalysis, aesthetics, mythology,
neuroscience, and artificial intelligence (AI).
Is nothingness found in nature or is it in some realm disconnected
from nature? Nature and Nothingness: An Essay in Ordinal
Phenomenology argues for the former and explores four types of
nothingness as found in nature: holes in nature, totalizing
nothingness in horror, naturing nothingness, and encompassing
nothingness. Using ordinal phenomenology, Robert S. Corrington
reveals the great perennial fissuring within the one nature that
there is. The book includes a detailed analysis of religious
violence as it correlates to the hoes in nature, such as anxiety,
bereavement, loss, fear of fragmentation, and loss of identity. It
also examines the various ways in which horror is encountered in a
literary context, using the work of Edgar Allen Poe and H. P.
Lovecraft. The analysis is comparative and makes use of feminist
philosophy as well as Buddhist, Taoist, theosophical, and American
philosophy. Using resources from ecstatic naturalism and deep
pantheism, Corrington argues that though nothingness takes many
forms, they are all guises of the same vast Nothingness.
This book is a study in a new form of religious naturalism called
"Deep Pantheism," which has roots in American Transcendentalism,
but also in phenomenology and Asian thought. It argues that the
great divide within nature is that between nature naturing and
nature natured, the former term defined as "Nature creating itself
out of itself alone," while the latter term defined as "The
innumerable orders of the World." Explorations are made of the
connections among the unconscious of nature, the archetypes, and
the various layers of the human psyche. The Selving process is
analyzed using the work of C.G.Jung and Otto Rank. Evolution and
involution are compared as they relate to the Encompassing, and the
priority of art over most forms of religion is argued for.
Nature's Sublime uses a radical new form of phenomenology to probe
into the deepest traits of the human process in its individual,
social, religious, and aesthetic dimensions. Starting with the
selving process the essay describes the role of signs and symbols
in intra and interpersonal communication. At the heart of the human
use of signs is a creative tension between religions symbols and
the novel symbols created in the various arts. A contrast is made
between natural communities, which flatten out and reject novel
forms of semiosis, and communities of interpretation, which
welcomes creative and enriched signs and symbols. The normative
claim is made that religious sign/symbol systems have a tendency
toward tribalism and violence, while the various spheres of the
aesthetic are comparatively non-tribal, or even deliberatively
anti-tribal. The concept/experience of beauty and the sublime is
meant to replace that of religious revelation. The sublime is not
merely an internal mode of attunement, contra Kant, but comes from
the very depths of nature in the potencies of nature naturing.
A Philosophy of Sacred Nature introduces Robert Corrington's
philosophical thought, "ecstatic naturalism," which seeks to
recognize nature's self-transforming potential. Ecstatic naturalism
is a philosophical-theological perspective, deeply seated in a
semiotic cosmology and psychosemiosis, and it radically and
profoundly probes into the mystery of nature's perennial
self-fissuring of nature natured and nature naturing. Edited by
Leon Niemoczynski and Nam T. Nguyen, this collection aims to allow
readers to see what can be done with ecstatic naturalism, and what
directions, interpretations, and creative uses that doing can take.
A thorough exploration of the prospects of ecstatic naturalism,
this book will appeal to scholars of Continental philosophy,
religious naturalism, and American pragmatism.
The concern of this work is with developing an alternative to standard categories in theology and philosophy, especially in terms of how they deal with nature. Avoiding the polemics of much contemporary reflection on nature, it shows how we are connected to nature through the unconscious and its unique way of reading and processing signs. Suggestions are made for a post-Christian way of understanding religion. Finally, our connection with the infinite is described in detail, especially as it relates to the use of sign systems.
Nature's Sublime uses a radical new form of phenomenology to probe
into the deepest traits of the human process in its individual,
social, religious, and aesthetic dimensions. Starting with the
selving process the essay describes the role of signs and symbols
in intra and interpersonal communication. At the heart of the human
use of signs is a creative tension between religions symbols and
the novel symbols created in the various arts. A contrast is made
between natural communities, which flatten out and reject novel
forms of semiosis, and communities of interpretation, which
welcomes creative and enriched signs and symbols. The normative
claim is made that religious sign/symbol systems have a tendency
toward tribalism and violence, while the various spheres of the
aesthetic are comparatively non-tribal, or even deliberatively
anti-tribal. The concept/experience of beauty and the sublime is
meant to replace that of religious revelation. The sublime is not
merely an internal mode of attunement, contra Kant, but comes from
the very depths of nature in the potencies of nature naturing.
In this moving account of his struggles with manic-depressive
disorder, distinguished philosopher Robert S. Corrington, creator
of the school of ecstatic naturalism, presents a compelling
argument for rethinking the nature of this malady. Having inherited
the disorder from his mother, a gifted actress who struggled with
her own form of it until her death, he developed crucial survival
strategies that he recommends to other sufferers. In Riding the
Windhorse, Corrington details the latest medical, psychological,
and spiritual thinking about bipolar disease; a disorder
characterized by extreme mood swings and responsible for many
untimely deaths each year. Surprisingly, however, manic-depression
is also found in almost all forms of genius and Corrington presents
two detailed case studies showing this correlation. Riding the
Windhorse represents one person's eventual triumph over a
potentially crippling disease by demonstrating how creativity and
the quest for wholeness can support the erratic flight of the
windhorse of manic-depression.
In the wake of both the semiotic and the psychoanalytic
revolutions, how is it possible to describe the object of religious
worship in realist terms? Semioticians argue that each object is
known only insofar as it gives birth to a series of signs and
interpretants (new signs). From the psychoanalytic side, religious
beliefs are seen to belong to transference energies and projections
that contaminate the religious object with all-too-human complexes.
In Nature's Religion, distinguished theologian and philosopher
Robert S. Corrington weaves together the concept of infinite
semiosis with that of the transference to show that the self does
have access to something in nature that is intrinsically religious.
Corrington argues that signs and our various transference fields
can and do connect us with fully natural religious powers that are
not of our own making, thereby opening up a path past the Western
monotheisms to a capacious religion of nature. With a foreword by
Robert C. Neville, Nature's Religion is essential reading for
philosophers of religion, scholars of the psychology of religion,
and theologians.
This analysis of the thought of American philosopher Charles S.
Peirce combines an overview of the important features and themes of
his philosophy with original insights into his thought. By
stressing the correlation of semiotics and metaphysics and by
showing the underlying principles of an implied ecstatic
naturalism, Corrington engages in an act of emancipatory
reenactment in which Peirce is allowed to speak with a new voice.
This book is a study in a new form of religious naturalism called
"Deep Pantheism," which has roots in American Transcendentalism,
but also in phenomenology and Asian thought. It argues that the
great divide within nature is that between nature naturing and
nature natured, the former term defined as "Nature creating itself
out of itself alone," while the latter term defined as "The
innumerable orders of the World." Explorations are made of the
connections among the unconscious of nature, the archetypes, and
the various layers of the human psyche. The Selving process is
analyzed using the work of C.G.Jung and Otto Rank. Evolution and
involution are compared as they relate to the Encompassing, and the
priority of art over most forms of religion is argued for.
The concern of this work is with developing an alternative to
standard categories in theology and philosophy, especially in terms
of how they deal with nature. Avoiding the polemics of much
contemporary reflection on nature, it shows how we are connected to
nature through the unconscious and its unique way of reading and
processing signs. Spinoza's key distinction between natura naturans
and natura naturata serves as the governing framework for the
treatise. Suggestions are made for a post-Christian way of
understanding religion. Robert S. Corrington's work represents the
first sustained attempt to bring together the fields of semiotics,
depth-psychology, pragmaticism, and a post-Monotheistic theology of
nature. Its focus is on how signification functions in human and
non-human orders of infinite nature. Our connection with the
infinite is described in detail, especially as it relates to the
use of sign systems.
Nature and Spirit: An Essay in Ecstatic Naturalism develops an
enlarged conception of nature that in turn calls for a transformed
naturalism. Unline more descriptive naturalisms, such as those by
Dewey, Santayana, and Buchler, ecstatic naturalism works out of the
fundamental ontological difference between nature naturing(natura
naturans) and nature natured (natura naturata). This difference
underlies all other variations within a generic conception of
nature. The spirit operates within a generic conception of nature.
The spirit operates within a fragmented nature and has its own
unique locations. Ecstatic naturalism does not eulogize spirit nor
impose a process theodicy upon nature as a whole but carefully
describes the ways in which spirit emerges from finite locations
within the world. Methodologically, the text radically regrounds
phenomenology so that it can work more closely with a metaphysics
seeking the most generic forms of nature. The move from a
transcendental phenomenology, which rests upon a profound
misconception of the parcel of a radicalized naturalism, makes it
possible to show how all orders of relevance are related to nature
and to the spirit. This, in turn relocates the human process, with
its dialectical tension between finitude and transendence, and
places the self fully within the emergent structures of the
community of interpreters as that community lives out of hope. The
concept of worldhood is regrounded in pragmatic and semiotic terms,
thus putting pressure on Heidegger's formulations. Peirce's
pragmatic categorical structure is used to show how worldhood
differs from any other order within the world. The correlation of
the potencies of nature, which are presemiotic and preordinal, wit
the orders of the world itself, is possible only through an ordinal
phenomenology that remains attuned to the fundamental difference
between nature naturing (the potencies) and nature natured (the
orders of the world). Finally, the text redefines the divine
natures in the light of an ecstatic naturalism that sees god as an
order within the world that experiences the fragmented quality of
nature. Process theology is challenged for its inability to grasp
the tensions between god and the encompassing. Four divine natures
are laid bare as they relate to nature and to each other. The work
concludes with a description of the divine life in the face of the
encompassing.
Nature and Spirit: An Essay in Ecstatic Naturalism develops an
enlarged conception of nature that in turn calls for a transformed
naturalism. Unline more descriptive naturalisms, such as those by
Dewey, Santayana, and Buchler, ecstatic naturalism works out of the
fundamental ontological difference between nature naturing(natura
naturans) and nature natured (natura naturata). This difference
underlies all other variations within a generic conception of
nature. The spirit operates within a generic conception of nature.
The spirit operates within a fragmented nature and has its own
unique locations. Ecstatic naturalism does not eulogize spirit nor
impose a process theodicy upon nature as a whole but carefully
describes the ways in which spirit emerges from finite locations
within the world. Methodologically, the text radically regrounds
phenomenology so that it can work more closely with a metaphysics
seeking the most generic forms of nature. The move from a
transcendental phenomenology, which rests upon a profound
misconception of the parcel of a radicalized naturalism, makes it
possible to show how all orders of relevance are related to nature
and to the spirit. This, in turn relocates the human process, with
its dialectical tension between finitude and transendence, and
places the self fully within the emergent structures of the
community of interpreters as that community lives out of hope. The
concept of worldhood is regrounded in pragmatic and semiotic terms,
thus putting pressure on Heidegger's formulations. Peirce's
pragmatic categorical structure is used to show how worldhood
differs from any other order within the world. The correlation of
the potencies of nature, which are presemiotic and preordinal, wit
the orders of the world itself, is possible only through an ordinal
phenomenology that remains attuned to the fundamental difference
between nature naturing (the potencies) and nature natured (the
orders of the world). Finally, the text redefines the divine
natures in the light of an ecstatic naturalism that sees god as an
order within the world that experiences the fragmented quality of
nature. Process theology is challenged for its inability to grasp
the tensions between god and the encompassing. Four divine natures
are laid bare as they relate to nature and to each other. The work
concludes with a description of the divine life in the face of the
encompassing.
Semiotic theory, which has restricted its focus largely to human
forms of significations, is transformed by Robert S. Corrington
into a semiotics of nature itself. Corrington situates the divide
between "nature naturing" and "nature natured" within the contest
of classical American pragmaticism and postmodern psychoanalysis.
At the heart of this new metaphysics is an insistence that all
signs participate in larger orders of meaning that are natural and
religious. Meanings embodied in nature point beyond nature to the
mystery inherent in positioned codes and signs.
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