John Shaw Neilson : 'something of a mystic'

Competing post-Federation representations of mysticism as bold or passive, masculine or effeminate, dogmatic or independent, Australian or foreign, drove the shifting critical notions of this era culminating in the generalist designations of John Shaw Neilson (1872–1942) as Australia’s all-purpose mystical poet. Neilson is a mystical poet; yet the basis for this has been subject to a number of distortions from Neilson’s time until the late 1990s. This article examines how an understanding of both Western Christian mysticism and its often erroneous critical applications in Australia might inform new studies of the mystical Neilson.

An epistemically distant God? a critique of John Hick's response to the problem of divine hiddenness

God is thought of as hidden in at least two ways. Firstly, God's reasons for permitting evil, particularly instances of horrendous evil, are often thought to be inscrutable or beyond our ken. Secondly, and perhaps more problematically, God's very existence and love or concern for us is often thought to be hidden from us (or, at least, from many of us on many occasions). But if we assume, as seems most plausible, that God's reasons for permitting evil will (in many, if not most, instances) be impossible for us to comprehend, would we not expect a loving God to at least make his existence or love sufficiently clear to us so that we would know that there is some good, albeit inscrutable, reason why we (or others) are permitted to suffer? In this paper I examine John Hick's influential response to this question, a response predicated on the notion of 'epistemic distance': God must remain epistemically distant and hence hidden from us so as to preserve our free will. Commentators of Hick's work, however, disagree as to whether the kind of free will that is thought to be made possible by epistemic distance is the freedom to believe that God exists, or the freedom to choose between good and evil, or the freedom to enter into a personal relationship with God. I argue that it is only the last of these three varieties of free will that Hick has in mind. But this kind of freedom, I go on to argue, does not necessitate an epistemically distant God, and so the problem of divine hiddenness remains unsolved.

Living autobiographically : how we create identity in narrative / Paul John Eakin

Preview of the article : Ever since the publication of Fictions in Autobiography in 1985, Paul John Eakin has been a major presence in the field of autobiography studies. As with his other monographs, Eakin’s latest work, Living Autobiographically: How We Create Identity in Narrative, brings together elegance and range, as well as clarity and conceptual complexity. Like his other works, too, Living Autobiographically covers a wide range of theoretical and autobiographical texts. While not indifferent to literary theory per se, Eakin (as has been apparent for some time) is profoundly stimulated by theory that goes beyond not only the literary but also the humanities. Most notable in this monograph is Eakin’s use of recent research in neurobiology. With regard to his choice of autobiographical texts for discussion, most are American, though Eakin does discuss the Australian writer David Malouf (a long-time favorite of Eakin’s), as well as the Norwegian autobiographical narratives analyzed in Marianne Gullestad’s Everyday Life Philosophers: Modernity, Morality, and Autobiography in Norway (1996). Eakin’s interest in Gullestad’s work, which is based on a project that elicited autobiographical narratives from “ordinary” individuals, shows that he is not solely concerned with so-called “literary” texts, something also seen in his discussion of the “Portraits of Grief ” series that appeared in the New York Times in the wake of 9/11.

Bringing together such disparate texts, auto/biographical procedures, and theoretical concerns is an ambitious enterprise. Most ambitious of all is that Living Autobiographically brings “culturalist” and biological frameworks together as a way of answering the question

Review of John D. Caputo : On religion, London and New York : Routledge, 2001, paperback 0-415-23332-1, 147 pages lncluding lndex

This is a review of John Caputo’s recent Routledge book on religion. Caputo’s central idea is captured by the phrase ‘religion without religion’, by which he means a religious stance or attitude that is not circumscribed by allegiance to any specific creed.

Presbyterian ethos and environment in the novels of John Buchan : a religious and historical study

The aim of this thesis is to establish, from a historical and religious perspective, that the Presbyterian ethos and environment in which John Buchan was reared was the predominating influence in the writing of his novels. Presbyterianism was not the only influence on Buchan that determined the character of his stories. Buchan was by temperament a romantic, and this had considerable influence on his literature. His novels are romances, peopled by romantic figures who pursue romantic adventures. There are the signs of Buchan's romantic nature in the contents of the novels: creative imagination, sensitivity to nature, and expectations of the intrusion of other worlds, with destiny-determining events to follow. But Buchan had also an acquired classicism. His studies at Glasgow and Oxford Universities brought him in touch with a whole range of the master-pieces of classical literature, especially the works of Plato and Virgil. This discipline gave him clarity and conciseness in style, and balanced the romantic element in him, keeping his work within the bounds of reason. At the heart of Buchan's life and work, however, was his deeply religious nature and this, while influenced by romanticism and classicism, was the dominant force behind his work. Buchan did not accept in its entirety the Presbyterian doctrine conveyed to him by his father and his Church. He was moderate by temperament and shrank from excesses in religious matters, and, being a romantic, he shied away from any fixed creeds. He did embrace the fundamentals of Christianity, however, which he learned from his father and his Church, even if he did put aside the Rev. John's orthodox Calvinism. The basic Christianity which underlies all Buchan's novels has the stamp of Presbyterianism upon it, and that stamp is evident in his characters and their adventures. The expression of Christianity which Buchan embraced was the Christian Platonism of seventeenth century theologians, who taught and preached at Cambridge University, They gave prominence to the place of reason and conscience in man's search for God, They believed that reason and conscience were the ‘candle of the Lord’ which was existed every one. It was their conviction that, if that light was followed, it would lead men and women to God. They were against superstition and fanaticism in religion, against all forms of persecution for religious beliefs, and insisted that God could only be known by renouncing evil and setting oneself to live according to God’s will. This teaching Buchan received, but the stamp of his Presbyterianism was not obliterated. The basic doctrines which arose from his father's Presbyterianism and are to be found in Buchan's novels are as follows: a. the fear (or awe) of God, as life's basic religious attitude; b. the Providence of God as the ultimate determinative force in the outcome of events; c. the reality, malignity and universality of evil which must be forcefully and constantly resisted; d. the dignity of human beings in bearing God's image; e. the conviction that life has meaning and that its ultimate goal, therefore, is a spiritual one - as opposed to the accumulation of wealth, the achieving of recognition from society, and the gaining access to power; f. the necessity of challenge in life for growth and fulfilment, and the importance of fortitude in successfully meeting such challenge; g. the belief that, in the purpose of God, the weak confound the strong. These emphases of Presbyterianism are to be found in all Buchan's novels, to a greater or lesser degree. All his characters are serious people, with a moral purpose in life. Like the pilgrims of the Bible, they seek a country: true fulfilment. This quest becomes more spiritual and more dearly defined as Buchan grows in age and maturity. The progress is to be traced from his early novels, where fulfilment is sought in honour and self-approving competence, as advocated by classicism; to the novels of his middle years, where fulfilment is sought in adventures suggested by romanticism. In his final novel Sick Heart River. Buchan appears to have moved somewhat from his earlier classicism and his romanticism as the road to fulfilment. In this novel, Buchan expresses what, for him, is ultimate fulfilment: a conversion to God that produces self-sacrificing love for others. The terminally-ill Edward Leithen sets out on a romantic adventure that will enable him to die with dignity, and so, in classic style, justify his existence. He has a belief in God, but in a God who is almighty, distant and largely irrelevant to Leithen's life. In the frozen North of Canada, where he expects to find his meagre beliefs in God's absolute power confirmed by the icy majesty of mountain and plain, he finds instead God's mercy and it melts his heart. In a Christ-like way, he brings life to others through his death, believing that, through death, he will find life. There is sufficient evidence to give plausibility to the view that Buchan is describing in Leithen his own pilgrimage. If so, it means that Buchan found his way back to the fundamental experience of the Christian life, conversion, so strongly emphasised in his orthodox Presbyterianism home and Church. However, Buchan reaches this conclusion in a Christian Platonist way, through the natural world, rather than through the more orthodox pathway of Scripture.

Diversions with John Gough : Blokus in space

The article evaluates the board game Blokus from Sekkoïa.

Building a national image : the architecture of John Smith Murdoch, Australia's first Commonwealth Government architect

Presents John Smith Murdoch and examines his significant contribution as an architect and public servant in Australia between 1885 and 1929. Murdoch's greatest achievement was the development of his modern Renaissance idiom of which Provisional Parliament House, Canberra is the finest example.