Islam's Modern Day Ibn Battutas: Gülen teachers journeying towards the divine

There is a longstanding debate on whether Muslims can be modern. Some argue that they can only be so if they forsake their traditions and embrace rationalism. In this article I argue that the Gülen Movement, a transnational Turkish Muslim educational activist network has found a middle ground by blending religious traditions with modern day realities. Drawing on interviews from the movement's teachers and graduates of its schools, from Turkey, Central Asia, Afghanistan and Pakistan, I explore, through the prism of al-riḥla fī ṭalab al-ʿilm (travel in search of knowledge), their maintenance of the longstanding Islamic ritual of travel as a means of excelling both professionally and religiously. In turn, I demonstrate how the movement, on a number of levels, effectively reconciles the spiritual and the everyday through updating Islamic practices to better integrate themselves and other Muslims into a globalised world.

Against fundamentalism: the silence of the Divine in the work of Karen Armstrong

Three and a half centuries after the treaty of Westphalia ended the bloody religious wars in Europe, religious zealots are again threatening to undo the progress of Western civilised society, the achievements of science, the Enlightenment and liberal democracy. Such is the charge of the 'new atheist' movements of which Michael Onfray is but one example. Onfray's self-confessed task is to rekindle the Enlightenment, to shine 'Atheology's dazzling light' on the tyranny and darkness of monotheism. And in just 219 pages, Onfray exposes 4,000 years of evil and darkness perpetrated by the three monotheistic religions-or so his Atheist Manifesto claims (2007: 219).It is the new atheists' rejection of the Enlightenment principle of toleration that prompted Karen Armstrong to write her book The Case for God. The Case for God is an argument and demonstration that all forms of fundamentalism represent a 'defiantly unorthodox form of faith that frequently misrepresents the tradition it is trying to defend' (2009: 7). As a modem twentieth century movement, fundamentalist movements are essentially pragmatic, 'modem, innovative, and modernizing' and have a symbiotic relationship 'with an aggressive liberalism or secularism' (Armstrong 2000: 178).

The tragi-comedy Down Under appropriates Cronulla rather than offering insight

Review of the new Australian feature film Down Under.

Suturing the body corporate (divine and human)in the Brahmanic traditions

In this discussion, we ponder the discourse about the ‘body of the Divine’ in the Indian tradition. Beginning with the Vedas, we survey the major eras and thinkers of that tradition, considering various notions of the Supreme Divine Being it produced. For each, we ask: is the Divine embodied? If so, then in what way? What is the nature of the body of the Divine, and what is its relationship to human bodies? What is the value of the body of the Divine to the spiritual aspirant? We consider, where relevant, which views are pantheistic and which might be considered panentheistic. Panentheism is connected with discourse on the world as the body of God. It has origins in medieval Christian theology with anticipatory traces in Plato’s Timeaus. Under pantheism, were the world to end—were it to collapse or disappear irreversibly, perhaps, into a huge black hole—then God would disintegrate without a remainder as well; for in this view the Divine Spirit is the universe. The same is not true under panentheism which posits a more complex relationship between the Divine and the world. According to panentheism, God pervades the world—God is in the world—and at the same time, God sustains the world—the world is in God. This allows that God be greater than, transcendent of and independent of the world. In our conclusion we remark on how the views we have surveyed link to, resonate with, or dis-compare with the current—should one say revivified—interest in intellectual quarters with panentheism.

What was the iconoclast controversy about?

Byzantine society of the eighth and ninth centuries experienced a vigorous and often violent dispute over the status of holy icons. 'Iconoclasts' were deeply suspicious of any pictorial representations of Christ, the Mother of God, and the saints, and they therefore unleashed a wave of persecution against the use of religious images, while 'iconophiles' fiercely defended the veneration of icons as an integral element of the life of the church. The extent and magnitude of this controversy indicates that it was more than a mere dispute over competing conceptions of religious art. A number of deeper issues and concerns were at play, and in this paper I seek to uncover some of these underlying concerns and hidden agendas. In particular, I argue that the opposing factions in the iconoclast crisis were, at bottom, concerned with issues relating to salvation, power, idolatry, tradition, and access to the divine.

Beyond Abrahamism : a fresh reading of the Tanakh traditions respecting Lot, Moab and Ammon

At the heart of this study is my interest in the way in which a religious community establishes its sense of identity and its boundaries in relation to other groups. I explore the case of Israel's attitude towards her eastern neighbours, the Moabites and Ammonites, as portrayed in Tanakh, the Hebrew Bible. Most commentary from the last one hundred years privileges one particular view of Moab and Ammon as traditional enemies of Israel. I aim to show the validity of readings of the biblical accounts that reveal a more complex relationship between Israel and her neighbours. Tanakh exhibits a dialectic between eirenic and hostile viewpoints. The stories of Abraham and Lot, who are presented as ancestors of Israel and of Moab and Ammon, to some degree represent Israel’s understanding of her neighbours. Conventional commentaries take for granted the accepted orthodoxy of Judaism, Christianity and Islam concerning Abraham and his significance in terms of faith and righteousness and blessing and covenant. As none of these notions is specifically linked to Lot at any point, he is treated as a pathetic figure and remains secondary in conventional commentary. Many commentaries denigrate the character of Lot, often in direct comparisons with Abraham. My reading of the texts of Genesis attempts to free the story of Lot from the constraints imposed by the way the story of Abraham functions. A careful reading of the Genesis account shows that Lot and Abraham exhibit similar elements of moral ambiguity, and Genesis contains no statement that condemns Lot on moral or religious grounds. Genesis 19, the single narrative in which Lot appears independently of Abraham, participates in the dialectic elsewhere in Tanakh. On the basis of a consistent pattern of action and speech throughout the first portion of Genesis 19, I advance my own original conception of the eirenic viewpoint of the narrator concerning Lot and his relationship to the divine. I attempt to demonstrate ways in which the story of Lot critiques or deconstructs the dominant ideology centred upon Abraham. My conception of the particular interests of the compiler of Genesis 19 is supported by several intertextual studies. These include the traditions of Sodom and of Zoar, the story of hospitality in Judges 19, the story of the deluge (Genesis 6-9) and stories of women who, like Lot’s daughters, act to continue the family line. In a treatment of the history of Lot traditions, I find evidence to separate the story of Lot from the work of the Yahwist. I consider whether the stories of Lot have a derivation east of the Jordan and whether the stories were of particular interest to the Deuteronomists. In the final chapter of this study, I focus on the main themes of the narratives concerning Lot and Abraham, and Moab and Ammon and Israel. The question of social boundaries arises in regard to many of these themes, such as the interaction of female and male, the role of wealth, the relation of city and country, kinship, and rights to land settlement. In this way, the treatment of Lot and Abraham in Tanakh and in subsequent traditions offers a perspective upon the formation of identity in the contemporary world of religious plurality.

Health-related religious rituals of the Greek Orthodox Church : their uptake and meanings

Aim
To examine the uptake of religious rituals of the Greek Orthodox Church by relatives of patients in critical condition in Greece and to explore their symbolic representations and spiritual meanings.
Background
Patients and their relatives want to be treated with respect and be supported for their beliefs, practices, customs and rituals. However nurses may not be ready to meet the spiritual needs of relatives of patients, while the health-related religious beliefs, practices and rituals of the Greek Orthodox Christian denomination have not been explored.
Method
This study was part of a large study encompassing 19 interviews with 25 informants, relatives of patients in intensive care units of three large hospitals in Athens, Greece, between 2000 and 2005. In this paper data were derived from personal accounts of religious rituals given by six participants.
Results
Relatives used a series of religious rituals, namely blessed oil and holy water, use of relics of saints, holy icons, offering names for pleas and pilgrimage.
Conclusion
Through the rituals, relatives experience a sense of connectedness with the divine and use the sacred powers to promote healing of their patients.
Implications for nursing management
Nurse managers should recognize, respect and facilitate the expression of spirituality through the practice of religious rituals by patients and their relatives.

Missing the lesbian and the missing lesbian: a study of the forgotten lesbian in 1970s Australian cinema

This paper addresses the (largely forgotten) presence of lesbians, in 1970s Australian film. It explores the romantic friendships canvassed in 'Picnic at Hanging Rock', (Peter Weir, 1975) and 'The Getting of Wisdom', (Bruce Beresford, 1977) alongside the lesbian in other canonical 1970s works, like the election comedy, 'Don’s Party' (Beresford, 1976) the bio-pic 'Dawn!', and unique tele-features such as 'The Alternative' (Paul Eddy 1978). This paper investigates the way these texts are read and received. The 1970s was an important decade in Australia's filmic history, (affectionately dubbed Australia's film ‘Renaissance’) and this paper examine the lesbian readings that are and aren’t there; and that are and are not avowed.

Will the real Waleed Aly please stand up?: Media, celebrity and the making of an Australian public intellectual

Abstract: Waleed Aly is arguably the most visible and vocal Australian public intellectual from a non-Anglo-Australian background. The ubiquitous Aly is a veritable Renaissance man - he is a television presenter, radio host, academic and rock musician. He is also a former lawyer, and served on the executive committee of the Islamic Council of Victoria. In short, he is the 'go-to' Muslim for commentary on a wide range of political and civic affairs. This article argues that Aly's media profile and celebrity status have as much to do with an Australian cultural imaginary that posits 'whiteness' as an uncontestable normative value as it does with Aly's undoubted skills as a journalist, academic and cultural commentator. It examines Aly's career with reference to Ghassan Hage's concept of 'whiteness' as a form of aspirational cultural capital and various theories of persona and performativity. For Hage, 'whiteness' is not a literal skin colour; rather, it consists of elements that can be adopted by individuals and groups (such as nationally valued looks, accents, tastes, cultural preferences and modes of behaviour). While entry to what Hage calls Australia's 'national aristocracy' is generally predicated on possessing the correct skin tone, it is theoretically possible for dark-skinned people such as Waleed Aly to enter the field of national belonging and partake in public discourse about a range of topical issues. More specifically, the article substantiates its claims about Aly's status as a member of Australia's cultural aristocracy through a comparative discourse and performance analysis of his presentation of 'self' in four distinctive media contexts: Channel 10's The Project, the ABC RN Drive program, ABC TV's Q&A and the SBS comedy-talk show Salaam Caf , which looked at the 'funny side of life as an Australian Muslim' and showcased other multi-talented Muslim professionals of both genders.

Transcendence and interiority in architecture : a study of Hagia Sofia, 532-537

The late historian Robin Evans, takes up the debate symbolised between Wblfflin, proposing that meaning is directly accessible through the form of a building, and Wittkower, arguing that meaning lies behind the form of architecture, in other texts and ideas. The focus of their argument is the centralised church of the Renaissance, which holds a special place in the history of architecture for all three historians. Evans' argument makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. He concludes that architecture, in its singular artistic physicality "suspends our disbelief in the ideal", offering a world that does not reflect culture, in all its fullness, but rather supplements culture's incompleteness. Architecture, like art is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order. Does architecture aspire towards transcendence, if so, what is transcendental value in architecture? In this essay I want to turn to Hagia Sofia (Istanbul, 532-537), a church that marks the beginning of a Christian empire relocated to the East of Rome, in Constantinople, built one thousand years before the Renaissance churches; and a building that symbolises the shift towards a domed centralised form, away from a basilica form. Hagia Sofia is an architecture, observed and described in an almost devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. What role does Hagia Sofia play in the kind of artistic mastery that Evans is proposing?

Hagia Sofia (532–537AD) : a study of centrality, interiority and transcendence in architecture

The study by Robin Evans of the centralised churches of the Renaissance explores the idea of centrality, and argues that architecture does not simply invest in one geometric centre. Evans’s analysis makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. In a footnote, he suggests that architecture in its singular artistic physicality ‘suspends our disbelief in the ideal’, offering a world that does not reflect culture, in all its fullness, but rather supplements culture’s incompleteness. This idea reiterates psychoanalytic theories of Freud and Kristeva that qualify the notion of transcendence with the psychoanalytic concept of transference. Architecture, like art, is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order and wholeness. In this essay, I turn to Hagia Sofia (532–537AD) in present-day Istanbul, a church that marks the beginning of a Christian empire relocated to Constantinople, East of Rome, and built one thousand years before the Renaissance churches discussed by Evans. Hagia Sofia is a building that symbolises the shift towards a domed centralised form, away from a basilica form, and a building that develops an innovative interior. Hagia Sofia is usually observed and described in a devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. Its influence on Islamic mosque design has been noted. What rôle does Hagia Sofia play in the kind of artistic mastery that Evans is proposing, and what other dimensions of centrality and transcendence in architecture are offered by a study of Hagia Sofia?

Mirjana Lozanovska. Deakin University

Creativity can be related to the human capacity to make, but with more emphasis on the process of making and the way the thing made reveals this. Creativity can also be related to production or objects that involve beauty, innovation, pleasure and ideas beyond the functional, rational and economic. Creativity can thus be associated with the human subject and/ or the object produced. The subject and object of creativity are sometimes entwined, and often represented as symbiotic in relation to artists and artistic production. In the seminal text Keywords, Raymond Williams (1976: 76) explains the historical associations between the words 'create' and 'creation' and the 'divine'; and later associations with the poet's and the artist's productions, leading eventually to the 'creative arts: However, the subject and object of creativity are not the same, as illustrated in the study of archaeological artefacts, where often the human subject (maker) is unknown. It is important they are not merged, and in this text I will try to respond to each part.

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.