Gregory Palamas on the relationship between philosophy and theology

The relationship between philosophy and theology has rarely been a harmonious and fruitful one. The two disciplines are often segmented into mutually exclusive compartments. On the one hand, philosophers, particularly contemporary philosophers working within the Anglo-American analytic tradition, widely agree that the claims made by theologians – such as the claim that there is a God and that God is a trinity of persons – are meaningless, or false, or irrational, or unsupported by evidence, or in some other way epistemically below par. On the other hand, it is not unusual to find theologians following in the footsteps of writers such as Tertullian, Kierkegaard and Barth in arguing that, when it comes to theology, faith suffices and reason merely perverts.

The philosophy-theology dispute was no stranger to fourteenth-century Byzantium, particularly in the writings of the most prominent spiritual and intellectual figure of this period, viz., Gregory Palamas (c.1296-1359). In his debates with Barlaam of Calabria (c.1290-1348), Gregory Akindynos (c.1300-1348) and Nikephoros Gregoras (c.1290-c.1358), the issue of the appropriateness of employing philosophical terms and modes of reasoning in theology occupied a central place.[1] But before looking at how Palamas tackled this issue, it will be helpful, firstly, to briefly outline how the Christian world (especially in the East) prior to Palamas tended to see the relationship between secular learning (including philosophy) and theology; and secondly, to ascertain what exactly was Palamas’ conception of philosophy.

Meta-philosophy of religion : the analytic-continental divide in philosophy of religion

How is the philosophical study of religion best pursued? Responses to this meta-philosophical question tend to recapitulate the analytic-Continental divide in philosophy in general. My aim is to examine the nature of this divide, particularly as it has manifested itself in the philosophy of religion. I begin with a comparison of the stylistic differences in the language of the two traditions, taking the work of Alvin Plantinga and John Caputo as exemplars of the analytic and Continental schools respectively. In order to account for these stylistic divergences, however, it is necessary to delve further into meta-philosophy. I go on to show how each philosophical school models itself on different theoretical practices, the analytic school mimicking the scientific style of inquiry, while in Continental philosophy it is the arts and humanities rather than the sciences that provide the model for philosophical discourse. By situating themselves in such different genres,  analytic and Continental philosophers have developed contrasting, if not mutually exclusive, methods for pursuing the philosophy of religion.

The emerging importance of feminist research paradigms in built environment research

Purpose – This paper seeks to establish and demonstrate the relevance of feminist research methods within built environment research. While no one definition of feminist research exists, many feminist researchers identify characteristics which distinguish it from traditional social science research; it is research that studies women, or that focuses on gender.
Design/methodology/approach – There is a growing body of research into women and the built environment adopting feminist paradigms. This paper explains the dynamic, evolving philosophical basis of feminist research methods drawing comparisons to traditional positivist methodologies and demonstrates that feminist research has characteristics that can be imported into other research paradigms.
Findings – The paper shows that there is much to be learned from an understanding of feminist research for all researchers in the built environment and that by adopting different approaches to research, researchers may find new and original ways of examining complex issues.
Research limitations/implications – The implications are that all researchers in the built environment should consider the benefits of adopting a feminist approach in their research especially where the researcher is seeking to gain a deeper understanding of peoples' experiences.
Originality/value – This paper seeks to raise awareness of the benefits of adopting feminist research methods in a discipline dominated by traditional approaches to research.

Fathoming the fathers in environmental education : a feminist poststructuralist analysis

The purpose of this study is to provide a feminist poststructuralist analysis of the dominant international discourses in environmental education, and how these have been realised in Australian national statements and in state policies over the past two decades, in terms of their implicit views about science, the environment, epistemology and education. The methodology of the study presents an argument for a 'politics of method' in the form of a research approach which reflects the ideology and intent of the study, i.e. an argument toward feminist poststructuralism as a methodology, but with elements of critical feminist research. Part of this methodology involves consideration of the gendered nature of language and discourses, particularly in the sciences. The argument is for the reconstituting of knowledge through feminist standpoint theory and the adoption of standards of 'strong objectivity'. In the spirit of its poststructuralist methodology the study presents three different stories (archaeologies) about environmental education: one told in terms of people, events and their outcomes; one told in terms of the changing views of education and how these were interpreted in environmental education; and the third told in terms of the emergence of ecofeminism as a parallel movement to environmental education and the emerging relationship between these two movements. These stories serve two purposes: to review the relevant literature in these three areas, and to provide the 'data' for later chapters. The discourses of environmental education, particularly those of the 'founders' and UNESCO documents, are then analysed from a poststructuralist perspective, followed by a feminist reconstruction of environmental education which argues for thinking from women's and other marginalized lives as a preferred strategy for environmental education, and develops research principles to explore this possibility. The conclusion reflects on the philosophical and theoretical issues engaged, and the methodological issues addressed, in the study.

Nursing work and nursing knowledge : exploring the work of women's health nurses, patterns of power and praxis

The majority of women's health nurses in this study work in generalist community health centres. They have developed their praxis within the philosophy and policies of the broader women's health movement and primary health care principles in Australia. The fundamental assumption underlying this study is that women's health nurses possess a unique body of knowledge and clinical wisdom that has not been previously documented and explored. The epistemological base from which these nurses' operate offers important insights into the substantive issues that create and continually shape the practice world of nurses and their clients. Whether this represents a (re)construction of the dominant forms of health care service delivery for women is examined in this study. The study specifically aims at exploring the practice issues and experience of women's health service provision by women's health nurses in the context of the provision of cervical cancer screening services. In mapping this particular group of nurses practice, it sets out to examine the professional and theoretical issues in contemporary nursing and women's health care. In critically analysing the powerful discourses that shape and reshape nursing work, the study raises the concern that previous analyses of pursing work tend to universalise the structural and social subordination of nurses and nursing knowledge. This universalism is most often based on examples of midwifery and nursing work in hospital settings, and subsequently, because of these conceptualisations, all of nursing is too often deemed as a dependent occupation, with little agency, and is analysed as always in relation to medicine, to hospitals, to other knowledge forms. Denoting certain discourses as dominant proposes a relationship of power and knowledge and the thesis argues that all work relations and practices in health are structured by certain power/knowledge relations. This analysis reveals that there IX are many competing and complimentary power/knowledge relations that structure nursing, but that nursing, and in particular women's health nurses, also challenge the power/knowledge relations around them. Through examining theories of power and knowledge the analysis, argues that theoretical eclecticism is necessary to address the complex and varied nature of nursing work. In particular it identifies that postmodern and radical feminist theorising provide the most appropriate framework to further analyse and interpret the work of women's health nurses. Fundamental to the position argued in this thesis is a feminist perspective. This position creates important theoretical and methodological links throughout the whole study. Feminist methodology was employed to guide the design, the collection and the analysis. Intrinsic to this process was the use of the 'voices' of women's health nurses as the basis for theorising. The 'voices' of these nurses are highlighted in the chapters as italicised bold script. A constant companion along the way in examining women's health nurses' work, was the reflexivity with feminist research processes, the theoretical discussions and their 'voices'. Capturing and analysing descriptive accounts of nursing praxis is seen in this thesis as providing a way to theorise about nursing work. This methodology is able to demonstrate the knowledge forms embedded in clinical nursing praxis. Three conceptual threads emerge throughout the discussions: one focuses on nursing praxis as a distinct process, with its own distinct epistemological base rather than in relation to 'other' knowledge forms; another describes the medical restriction and opposition as experienced by this group of nurses, but also of their resistance to medical opposition. The third theme apparent from the interviews, and which was conceptualised as beyond resistance, was the description of the alternative discourses evident in nursing work, and this focused on notions of being a professional and on autonomous nursing praxis. This study concludes that rather than accepting the totalising discourses about nursing there are examples within nursing of resistance—both ideologically and X in practice—to these dominant discourses. Women's health nurses represent an important model of women's health service delivery, an analysis of which can contribute to critically reflecting on the 'paradigm of oppression' cited in nursing and about nursing more generally. Reflecting on women's health service delivery also has relevance in today's policy environment, where structural shifts in Commonwealth/State funding arrangements in community based care, may undermine women's health programs. In summary this study identifies three important propositions for nursing: • nursing praxis can reconstruct traditional models of health care; • nursing praxis is powerful and able to 'resist' dominant discourses; and • nursing praxis can be transformative. Joining feminist perspectives and alternative analyses of power provides a pluralistic and emancipatory politics for viewing, describing and analysing 'other' nursing work. At the micro sites of power and knowledge relations—in the everyday practice worlds of nurses, of negotiation and renegotiation, of work on the margins and at the centre—women's health nurses' praxis operates as a positive, productive and reconstructive force in health care.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.