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  1. Parabolic Transcendence in Time and Narrative
    Shane Carruth’s Shane Carruth’s PRIMER (US 2004) and UPSTREAM COLOR (US 2013) as Post-Secular Sci-Fi Parables
    Autor*in: Mayward, Joel
    Erschienen: [2020]

    Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA,... mehr

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    Index theologicus der Universitätsbibliothek Tübingen
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    Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA, 2013). In this, I contend that both Primer and Upstream Color are post-secular cinematic parables per philosopher Paul Ricoeur’s description of parable: the conjunction of a narrative form and a metaphorical process, addressing the religious via non-religious discourse. Interpreting these two films through a Ricoeurian parabolic hermeneutic addresses their mutual transcendence in and through time and narrative via their striking visual and auditory aesthetics, the use of montage in their nonlinear narratives, and the depiction of invisible relational connections between the films’ protagonists. I conclude that Carruth’s post-secular cinema resides in an in-between space: between the secular and the religious, realism and expressionism, immanence and transcendence.

     
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    Sprache: Englisch
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    Format: Online
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    Übergeordneter Titel: Enthalten in: Journal for religion, film and media; Graz : Institut f. Fundamentaltheologie, 2015; 6(2020), 1, Seite 17-36; Online-Ressource

    Schlagworte: Film-Theology; Parable; Paul Ricoeur; Post-Secular; Shane Carruth; Time Travel; Transcendence
  2. Musical Religiosity
    Autor*in: Hoondert, Martin J. M.
    Erschienen: [2015]

    In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal... mehr

    Standort:
    Index theologicus der Universitätsbibliothek Tübingen
    Fernleihe:
    keine Fernleihe

     

    In this essay the author explores the thesis that music is by its nature religious, or rather, that it has qualities that correspond well with what religion, in a broad sense, aspires to be. Four musical qualities are explored: timbre, the tonal system of western music, the time relations within the tonal network, and the non-referential nature of music. These qualities are linked to the definition of ‘the religious’ by John Dewey. The main conclusion is that an analogy can be shown between the musical and the religious experience: both composers and musicians challenge the listeners to explore the hidden religiosity in the performance of music.

     
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    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Aufsatz aus einer Zeitschrift
    Format: Online
    Übergeordneter Titel: Enthalten in: Temenos; Helsinki : [Verlag nicht ermittelbar], 1965; 51(2015), 1, Seite 123-136; Online-Ressource

    Schlagworte: Experience; Music; Religion; Transcendence