Lip and oral cavity SCC account for 2nd highest incidence of cancers and 3rd most common cause of mortality from cancer in India. Reconstruction of defects of central arch invading cancers results in poor cosmetic and functional outcomes if free flaps are not used. 30 patients with Oral SCC in the age group 20-75 years requiring central arch segmental mandibulectomy were included. Reconstruction was done with pedicled bipaddled PMMC flap with 'AJ's orbicularis oris stitch' using Fiber wire. Patients were divided into 4 groups according to extent of lip and skin loss post excision of primary tumour. Patients were evaluated with subjective scores for drooling, oral competence and cosmesis. There were 4, 12, 9 and 5 patients in Group A, B, C and D respectively. Mean subjective scores using our technique for drooling, oral competence and cosmesis were 3.75/4,3.75/4 and 3.5/4 for group A, 3.45/4, 3.36/4 and 3.09/4 for group B, 2.8/4, 2.6/4 and 2.3/4 for group C defects and 2.5/4, 3/4 and 2.5/4 for group D defects respectively. Over all scores for all patients were 3.2/4, 3.14/4 and 2.84/4 for drooling, oral competence and cosmesis. This simple, quick and inexpensive technique of reconstruction of central mandibular arch defects can drastically improve cosmetic and functional outcomes in a resource restrained set up. However, long term results and comparison studies are required for standardisation of the technique.
{"title":"'AJ's Orbicularis Oris Stitch: A Novel and Simple Technique of Reconstructing Central Arch Mandibular Defects in Resource-Constrained Set Up'.","authors":"Ajinkya Pawar, Priyank Rathod, Vikas Warikoo, Mohit Sharma, Abhijeet Salunke, Shashank Pandya, Shivam Pandya, Jebin Aaron, Salahudheen Thottiyen, Sonal Trivedi, Kanika Kapur, Vivek Bande, Nikunj Patel, Poojitha Yalla, Gautami Joshi","doi":"10.1007/s12070-023-04044-1","DOIUrl":"10.1007/s12070-023-04044-1","url":null,"abstract":"<p><p>Lip and oral cavity SCC account for 2nd highest incidence of cancers and 3rd most common cause of mortality from cancer in India. Reconstruction of defects of central arch invading cancers results in poor cosmetic and functional outcomes if free flaps are not used. 30 patients with Oral SCC in the age group 20-75 years requiring central arch segmental mandibulectomy were included. Reconstruction was done with pedicled bipaddled PMMC flap with 'AJ's orbicularis oris stitch' using Fiber wire. Patients were divided into 4 groups according to extent of lip and skin loss post excision of primary tumour. Patients were evaluated with subjective scores for drooling, oral competence and cosmesis. There were 4, 12, 9 and 5 patients in Group A, B, C and D respectively. Mean subjective scores using our technique for drooling, oral competence and cosmesis were 3.75/4,3.75/4 and 3.5/4 for group A, 3.45/4, 3.36/4 and 3.09/4 for group B, 2.8/4, 2.6/4 and 2.3/4 for group C defects and 2.5/4, 3/4 and 2.5/4 for group D defects respectively. Over all scores for all patients were 3.2/4, 3.14/4 and 2.84/4 for drooling, oral competence and cosmesis. This simple, quick and inexpensive technique of reconstruction of central mandibular arch defects can drastically improve cosmetic and functional outcomes in a resource restrained set up. However, long term results and comparison studies are required for standardisation of the technique.</p>","PeriodicalId":42348,"journal":{"name":"Spiritus-A Journal of Christian Spirituality","volume":"13 1","pages":"3703-3710"},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10645984/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88554272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909104
C. M. Howell
Rhythms of Silence and Space:Contemplation and Architectural Proportion in Dom Hans van der Laan C. M. Howell (bio) The St. Benedictusberg Abbey at Vaals in the Netherlands is first glimpsed in its perch atop a hill on a relatively desolate stretch of road. Two round towers dominate its south elevation, appearing more as imitations of a Renaissance palace than a residence of the Benedictine order. The towers appear both too grand and too miniscule at the same time, spaced too far apart as they encroach on the building between them. This view is lost as the single lane dives downhill through a forest. When the abbey reemerges, this time presenting its west façade, there is a dramatic architectural shift. A chapel added in 1962, some four decades after the original building, now greets visitors. The conical towers are blocked by this monolithic rectangular mass. Its surface is only disturbed by the small repetitive windows, mainly in a clerestory under the eave. The vague allusion to fantasy has become a single, concrete expression. Its presence is tranquil—one unified in conversation with reason's conviction. The change between the two views is disorientating, forcing a pause to search for the entrance. The abbey is a tale of two buildings—the former by the ecclesial architect Dominkus Böhm, and the latter designed by Dom Hans van der Laan (1904–91), an influential modern architect and devout Benedictine monk. The view from the back pew of the chapel rests in the shadow of comfort. The eye chases the architectural lines, searching for the genius behind the work. The building is simple and squared. It is wholly comprised by a series of rectangular forms, precisely arranged along their vertical and horizontal axes. The crisp lines of columns and portals come to definition as the melodies and harmonies of the monks fill the space. Their meter is certain. Their song actively restrained. Light replicates the ordered meter of chant. Its own is a rhythm being determined by the spacing of window and wall. Its path leads the eye to the altar—the centerpiece of the chapel—refocusing attention with every passing cloud. From this view, the only worry is of disturbing the stillness. The topic of architecture and spirituality generally conjures up ancient images quite distant from van der Laan's modernism.1 These are of great stone cathedrals and elegant marble temples, abounding with extravagant ornament that stirs wonder. A nostalgia operates alongside these images, romanticizing a view of the past on the one hand and preemptively critiquing modern design on the other. [End Page 211] Click for larger view View full resolution St. Benedictusberg Abbey at Vaals via Charles Howell Less commonly acknowledged is that questions of spirituality are equally present in modern discussions of architecture. In fact, the question of the human spirit's place in the built world was in many ways the foundation of modern architecture. Technological advancement exerts a partic
沉默与空间的节奏:Dom Hans van der Laan的沉思与建筑比例(作者:C. M. Howell)荷兰瓦尔斯的圣本笃大教堂(St. Benedictusberg Abbey)第一次被瞥见是在一段相对荒凉的道路上的一座山顶上。两座圆塔占据了它的南立面，看起来更像是文艺复兴时期的宫殿，而不是本笃会的住所。双塔看起来既太大又太小，间隔太远，因为它们侵占了它们之间的建筑。当单车道穿过森林下坡时，这种景色就消失了。当修道院重新出现时，这次呈现的是它的西侧立面，这是一个戏剧性的建筑变化。一座建于1962年的小教堂，比原来的建筑晚了大约40年，现在迎接着游客。锥形塔楼被这个巨大的矩形体块挡住了。它的表面只受到重复的小窗户的干扰，主要是在屋檐下的天窗上。对幻想的模糊暗示变成了一种单一的、具体的表达。它的存在是平静的——一种与理性信念对话的统一。两种景观之间的变化让人迷失方向，迫使人们停下来寻找入口。修道院是两栋建筑的故事——前者由教会建筑师Dominkus Böhm设计，后者由Dom Hans van der Laan(1904-91)设计，他是一位有影响力的现代建筑师和虔诚的本笃会修士。教堂后排座位上的景色令人感到舒适。目光追逐着建筑线条，寻找作品背后的天才。这座建筑简单而方形。它完全由一系列矩形组成，沿着它们的垂直和水平轴精确排列。当僧侣们的旋律和和声填满空间时，清晰的柱子线条和入口就得到了定义。他们的计价器是确定的。他们的歌声非常克制。光复制了圣歌的韵律。它自己的节奏是由窗和墙的间距决定的。它的路径将人们的目光引向圣坛——教堂的中心——随着每一片飘过的云重新集中注意力。从这个角度来看，唯一的担心是扰乱宁静。建筑和精神的话题通常会让人联想到与范德伦的现代主义相去甚远的古代形象这里有宏伟的石头教堂和优雅的大理石寺庙，到处都是令人惊叹的奢华装饰。怀旧之情伴随着这些图像，一方面浪漫化了对过去的看法，另一方面先发制人地批评了现代设计。[结束页211]点击查看大图查看全分辨率瓦尔斯的圣本尼迪克塔斯堡修道院via Charles Howell不太为人所知的是，灵性问题同样存在于现代建筑讨论中。事实上，人类精神在建筑世界中的地位问题在很多方面都是现代建筑的基础。技术进步产生了一种特别强大的力量，打破了建筑与其材料的自然限制之间曾经亲密的统一。合金和合成材料为建筑创造了无限的可能性。其结果是整个19世纪建筑风格的多样化和碎片化。现代建筑试图给这种风格上的混乱带来一些秩序。大部分运动都围绕着一个关键问题组织起来，即建筑是否有一个中心意义，或者用技术术语来说，是否有一个建筑比例的定义原则。在这个问题上从未达成共识，但对这样一个统一原则的探索使比例这个话题在建筑理论的辩论中活跃起来。到二十世纪中叶，至少有900种关于这一主题的出版物这些辩论通常由建筑师根据哲学、神学和美学的原则和见解进行。更重要的是，他们关注的是自发的人类精神如何在物质世界中找到一席之地，以及两者之间是否存在超越的统一。范德伦通过上帝在创造中所刻的人类灵性维度来解释这种精神与物质的关系。它们是运动、感知和智力的能力。什么……
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909119
Reviewed by: Thousands and Thousands of Lovers: Sense of Community among the Nuns of Helfta by Anna Harrison Andrew K. Lee (bio) Thousands and Thousands of Lovers: Sense of Community among the Nuns of Helfta. By Anna Harrison. Collegeville, MN: Liturgical Press, 2022. 494 pp. $49.95. Thousands and Thousands of Lovers (hereafter Thousands) is a comprehensive close reading of the Helfta literature that brings that community to life and immerses the reader in the Helfta nuns' communal spirituality. While scholarly attention on the Helfta community has often focused on a few individual luminaries (such as Gertrude the Great and Mechtild of Hackeborn) and their mystical visions, Harrison argues that the Helfta literature suggests a much more communal orientation, and that the shared spirituality of the Helfta nuns—indeed, of many spiritual writers in the later Middle Ages—has been woefully understudied. Harrison seeks to rectify this in Thousands through a meticulous study of Gertrude's The Herald of God's Loving-Kindness and Spiritual Exercises, Mechtild's Book of Special Grace, and other works that emerged from the Helfta community. Following an introduction that sets the Helfta writers and their community within the context of thirteenth-century northern European religion and spirituality, Harrison draws out numerous aspects of community in the Helfta literature, arranging them neatly in three sections that represent ever-expanding circles of inclusion and relationship. Part One, "The Nuns," by far the longest section at four chapters, analyzes the relationships among the nuns themselves in various arenas of their shared life. Chapter one unpacks the ways in which the writing of the Helfta literature was itself a communal process. Though these works have been attributed to individual authors, multiple women contributed to their composition. In the case of Special Grace, anonymous nuns recorded Mechtild's visions and teachings for several months without her knowledge, an indication of how deeply communal these texts were. Chapter two surveys the relationships among the nuns in the monastery. Harrison observes that the Helfta literature depicts Gertrude and Mechtild as deeply involved in the lives of their sisters. The picture of the monastery that emerges is of a place filled with continual conversation about Christ and the spiritual life as well as visions for and about others. In chapter three, Harrison analyzes the ways in which the monastery dealt with illness, death, and grief. The Helfta literature repeatedly shows the nuns caring for the sick and the dying in their community. Harrison also notes that the sense of community at Helfta extended to the dead; some of the visions were of the recently departed, and the living and the dead continued to be involved in and to influence one another's lives. Chapter four, the last chapter in the first section, discusses the Helfta liturgy. This is a critical point in Harrison's argument as she suggests t
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909122
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909117
Reviewed by: Art and Faith: A Theology of Making by Makoto Fujimura Nathan Didlake (bio) Art and Faith: A Theology of Making. By Makoto Fujimura. New Haven, CT: Yale University Press, 2020. 184 pp. $26.00 hdbk. Art and Faith by Makoto Fujimura is an applied theology that dares to ask Christians how Jesus's Kingdom impacts their work to create. Its pacing breathes like a guided contemplation with Fujimura—at a coffee shop, on a plane, or in between brushstrokes at his studio. If God is the Creator who gratuitously gives love to all of creation, how must Christians act? This book is a call to action: Christians must reflect the Eternal God and create. The world should be filled with new generative work that lives the reality that all things are being made new. Many of these works espousing a "vision for the arts" call artistic endeavors into alignment with some prescribed functional theology. Here, the arts explore truth, but they exist deferentially to theologies and dogma. In this vision, systematicians become prophets—and artists their illustrators. Fujimura argues the opposite. Artists are modern prophets, society's border stalkers possessing a unique calling. They see the world from the fringes and uniquely see the unseen and share the unshared. They are meant to reflect the Maker by making and, as such, participate in God's generative, effusive love. To Fujimura, generative expression reveals God and heals a broken world. He reasons that joining God's generative work reflects God and cares for culture, since we believe the resurrected Jesus sent the Holy Spirit into the world. If Jesus has done these things, if this is actually true, then the arts must do this double work of making God manifest and nurturing culture. Fujimura calls the latter task "culture care": [C]ulture care is the vision to manifest the "Spirit-filled life" into the heart of culture. … What I offer as culture care is a consideration of the work of the Spirit in culture. In other words, we ask not just how you or I may be doing as a follower of Christ; we also ask audaciously, "How is our culture doing?" (23) Do Christians look at their cultures to "see how they're doing?" How well are we planting the fruit of the Spirit in the public square? This is a profound question, but it leads us to ask: Can the Kingdom of God be here and for the public good? Fujimura believes as much, and he addresses the arts as one of the primary ways to bring God's generative good to the world. How does the artist perform this generative work? One can describe darkness with words; or one can mold, sculpt, sing, rhyme, and paint in a way that reaches into the darkness, calls it out, and pulls people out of it. The artist is uniquely called (and gifted) to do this. Artists have a unique ability to see truth and to express it in a way that subverts and redeems culture. Fujimura's illustration of the ancient Japanese Kintsugi method illustrates this well. In the Kintsugi tradition, broken teacups ar
《艺术与信仰:制造的神学》作者:藤村诚藤村诚著。康涅狄格州纽黑文:耶鲁大学出版社，2020年。184页，每本26.00美元。藤村诚(Makoto Fujimura)的《艺术与信仰》(Art and Faith)是一本应用神学著作，敢于问基督徒耶稣的国度如何影响他们的创作工作。它的节奏呼吸就像藤村在咖啡店、飞机上或在他工作室的笔触之间进行的有指导的沉思。如果神是造物主，祂无偿地给予所有受造之物爱，基督徒该如何行动?这本书是一个行动的呼吁:基督徒必须反映永恒的上帝和创造。这个世界应该充满新的创造性的工作，生活在所有事物都被创造出来的现实中。这些作品中有许多拥护“艺术的愿景”，将艺术努力与某些规定的功能神学联系起来。在这里，艺术探索真理，但它们服从于神学和教条。在这个异象中，系统神学家成为先知，艺术家成为他们的插画家。藤村则持相反的观点。艺术家是现代的先知，是社会边缘的潜行者，有着独特的使命。他们站在边缘看世界，独特地看到未被看到的，分享未被分享的。他们的目的是通过制造和参与上帝的多产的，热情洋溢的爱来反映造物主。对藤村来说，生成式表达揭示了上帝，治愈了破碎的世界。他的理由是，加入神的生育工作反映了神和关心文化，因为我们相信复活的耶稣把圣灵送到了这个世界。如果耶稣做了这些事情，如果这是真的，那么艺术必须做双重工作，让上帝显现，并培育文化。藤村将后一种任务称为“文化关怀”:[C]文化关怀是将“充满精神的生活”体现到文化的核心的愿景。我所提供的文化关怀是对圣灵在文化中的工作的思考。换句话说，我们不只是问你或我作为基督的跟随者做得怎么样;我们也大胆地问:“我们的文化表现如何?”(23)基督徒看他们的文化是为了“看他们做得怎么样”吗?我们在广场上种下圣灵的果子有多好?这是一个深刻的问题，但它引导我们问:上帝的王国能在这里，为了公众的利益吗?藤村相信这一点，他认为艺术是将上帝的善带给世界的主要方式之一。艺术家是如何完成这种生成性的工作的?人们可以用文字来描述黑暗;或者一个人可以塑造、雕刻、歌唱、押韵和绘画，以某种方式进入黑暗，呼唤它，并把人们从黑暗中拉出来。艺术家是唯一被召唤(和天赋)去做这件事的人。艺术家有一种独特的能力，能够看到真相，并以一种颠覆和拯救文化的方式表达出来。藤村对古代日本金杉法的图解很好地说明了这一点。在金杉的传统中，破碎的茶杯会被研究和修复，使其变得比原来的更辉煌。军阀丰臣秀吉看到的只是一个破碎的杯子，而细川护熙看到的是一个消遣。在两者中，修复的美学通过修复和救赎创造了更大的价值和超越美，通过时间、沉思和表达为破碎的事物注入新的生命。这种愿景是否被夸大了?也许我们承认艺术是好的，有它的一席之地。也许藤村可以预见地将自己和他的同伴提升到主导地位，并带着结论向后阅读他的神学。另外，有人看到现代艺术有多荒谬吗?我持有这种信念。认识我的人可能会觉得我在评论一本关于艺术的书……一个为教堂写过几首歌、几乎不会画简笔画的人。我是一名训练有素的注释家，也是一名牧师(这两种职业都意味着我买不起画廊的门票，但我应该在里面保持安静)。藤村给了我最大胆的神学愿景……
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909103
Dennis Kinlaw
Literary Engagement and the Contemplative Disposition Dennis Kinlaw (bio) In his 2010 essay "Reading in a Digital Age," literary critic Sven Birkets surveys media consumption and internet usage's devastating effects on the human attention span in general and literary engagement in particular.1 Awash in a torrent of information streams, readers have largely abandoned their capacity for immersive engagement to adopt more practical modes of textual consumption: grazing, clicking, skimming, and layering windows on computer screens, primarily. What appears at first another paean to less technologically saturated times, exactly the type of piece one might skim on a screen, takes on new depths when Birkets pivots from the general paranoia such technology produces to address his primary concern: contemplation. "My real worry has less to do with the overthrow of human intelligence by Google-powered artificial intelligence and more with the rapid erosion of certain ways of thinking," Birkets writes, concluding, "I find myself especially fixated on the idea that contemplative thought is endangered." As a "non-instrumental" mode of thinking that elevates reflection as an end in itself, contemplation emerges as uniquely imperiled in an age that favors rapid information over reflective self-formation. Contemplation, it seems, is the real casualty at the heart of our attention crisis. Cloaked in a quietude seemingly lost in contemporary culture, literature emerges less as a temporary respite from the shallows of contemporary life than as an aesthetic outpost whereby readers are equipped with the cognitive skills required for contemplative thought. Reading works of fiction, this essay intends to argue, resuscitates a self-modifying form of attention at the heart of the contemplative tradition. While writing from outside this tradition, Birkets recognizes as much when he describes the novel as a "a mode of contemplation, its purpose being to create for the author and reader a terrain, an arena of liberation, where mind can be different."2 As scholars across disciplines develop compelling evidence for the mental,3 emotional,4 and social benefits5 of literary engagement, how might works of fiction also be examined for their capacity to provide readers a type of contemplative calisthenics? Furthermore, to what extent are the imaginative and perceptual demands reading requires [End Page 192] analogous to and often indistinguishable from the spiritual disciplines intrinsic to the contemplative tradition? Motivated by these questions, this essay sets out to explore how literary engagement fosters and forms the cognitive and spiritual resources prioritized in the contemplative tradition. Understood as a "way of seeing things" characterized by self-surrender and attuned to the "hidden nonfinite" depths latent in the finite world we live within, contemplation requires an altered outlook whereby one's self-interested and ends-oriented approach to reality is radically refra
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909106
David B. Greene
Gustav Mahler's Third Symphony:Growth within Fulfillment David B. Greene (bio) Gustav Mahler (1860–1911), best known for his nine symphonies and works for voice and orchestra, was born in Kaliště, Bohemia. He moved to Vienna in 1875 to study piano and composition. Taking up opera conducting as a livelihood, he held posts in Leipzig, Budapest, Hamburg, Vienna, and New York. During summers he wrote music in the serenity of Austrian lakes and mountains. Although his conducting was highly acclaimed, audiences found his own compositions difficult to understand. The orchestration, partly shaped by his experience as a conductor, was unusual, the works were too long, and he introduced ironic overstatements that audiences misunderstood as sincere expressions in poor taste. Moreover, each of his symphonies works toward a mode of coherence that is unique to itself, and audiences, expecting him to adhere to Beethoven's or Brahms's principles of consistency, simply couldn't follow them. Precisely these innovations have made his music highly influential for contemporary composers and refreshingly challenging for modern audiences. They are also intimately connected with his particular approach to spiritual life. Today, most conductors include at least one Mahler symphony in every season. The BBC poll of 151 conductors voted Mahler's Second, Third, and Ninth among the ten greatest symphonies of all time. More than most pieces in the symphonic canon, Mahler's Third prompts listeners to murmur as they leave the concert, "I didn't know music could do that." From its first note onward, Mahler's Third Symphony (1896) takes listeners to a strange place. The sound itself—eight boisterous horns in unison—doesn't belong in a concert hall, or anywhere indoors. Mahler calls it a "reveille." The sheer sound, together with its melody, issues a mysterious summons. Julian Johnson writes that the horns' massive call "summons a voice out of silence, a presence out of emptiness, a form out of formlessness."1 Contradictorily (and typical of Mahler's style), the tune is also familiar—reminiscent of a German student song calling friends to get up and move. The ordinary demystifies the silence, and the emptiness mystifies the ordinary. Five movements later, the slow last movement takes the same motif and transforms it into a hymn that answers the horn call and the summonses—and [End Page 250] struggles, contradictions, and anguish—of the four intervening movements. The sense of completion is, however, challenged by biting reminiscences of prior negativities. In the end, fulfillment transcends these by returning to and growing the fulfillment. But even then, the music presses ahead and grows further. This growth, however, is not to a new level of fulfillment but within fulfillment itself. It is as though the movement succeeded in miraculously and impossibly joining growth (which implies moving forward) with fulfillment (which connotes being at peace). Growth within fulfillment is cent
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909108
Gunnar Gjermundsen
The Spiritual Senses and the Problem of Transcendence Gunnar Gjermundsen (bio) The Christian spiritual tradition has from its ancient roots been animated by an impulse toward transcendence: to reach her ultimate fulfillment and salvation, the soul is called to purify herself from ensnarement in sensory phenomena and the vicissitudes of the body in order to move beyond this fallen world to a suprasensible divine reality. Theologically, the impulse was over the centuries scaffolded in metaphysical binaries like sensory and intelligible, matter and spirit—and later, the natural and the supernatural. In the late modern era, this pattern became problematized. From inside the Christian tradition, theologians like Anders Nygren construed the impulse as an expression of an un-Christian eros of Platonic and Neoplatonic origin, foreign to Christ's central message of selfless, universal love.1 From outside the church, Nietzsche criticized what he saw as a life-denying attitude of ressentiment and otherworldliness in its ethos, while Marx famously denounced Christian visions of a transcendent after-life as "opium" to distract from needed societal change in the here and now.2 Today, these critiques would seem to have been confirmed by history. Despite murmurs of a post-secular age, the intersubjective consensus worldview of postmodernity is still so encased in secular materialism that talk of a dimension of reality beyond the purely physical is usually not taken seriously in academic and scientific discourse. This results in what I shall here define as the "problem of transcendence": how to give a satisfying answer to the modern critiques of the traditional Christian view of transcendence—with its highly ambivalent attitude to the body, the senses, materiality and the here and now—while at the same time not capitulating to the current secular denial of transcendence. One of the most promising avenues to approaching this problem springs from the same source as the Christian contemplative tradition itself—namely, the ancient patristic teachings on the spiritual senses. Here we find a wealth of material describing direct contact with the divine in a perceptual or quasi-perceptual manner, divinely transcendent, yet sensorially embodied at the same time, overcoming the traditional theological binaries. Spiritual practice has in this tradition given rise to a kind of first-person empiricism that may be guided by dogma but is not reducible to it. Attention to the spiritual senses [End Page 295] has become renewed among scholars in recent years.3 Yet, in this scholarship not much attention has so far been paid to the ways that the senses mature and transform along the contemplative path, a maturation that includes both changes in the soul's worldview, as well as the spiritual pedagogy that goes along with it. The present essay argues that adopting such a maturational or developmental perspective provides a new key to answering the critiques of Christianity's view of
基督教的精神传统从其古老的根源就被一种追求超越的冲动所激发:为了达到她最终的满足和救赎，灵魂被召唤从感官现象和身体的沧桑中净化自己，以便超越这个堕落的世界，进入一个超感知的神圣现实。从神学上讲，几个世纪以来，这种冲动一直被形而上的二元对立所支撑，比如感觉和可理解、物质和精神——后来又变成了自然和超自然。在现代晚期，这种模式出现了问题。在基督教传统内部，像安德斯·尼格伦(Anders Nygren)这样的神学家将这种冲动解释为一种源自柏拉图和新柏拉图主义的非基督教爱欲的表达，与基督无私、普世之爱的核心信息格格不入在教会之外，尼采批评了他所看到的否定生命的态度，即其精神上的不满和超凡脱俗，而马克思则谴责基督教对超然来世的愿景是“鸦片”，以分散人们对此时此地需要的社会变革的注意力今天，这些批评似乎已经被历史证实了。尽管有后世俗时代的窃窃私语，但后现代性的主体间共识世界观仍然被世俗唯物主义所包围，以至于在学术和科学话语中，谈论超越纯粹物理的现实维度通常不被认真对待。这导致了我将在这里定义为“超越性问题”:如何对传统基督教超越性观点的现代批评给出一个令人满意的答案——它对身体、感官、物质性和此时此地的高度矛盾的态度，同时又不屈服于当前世俗对超越性的否认。解决这个问题的最有希望的途径之一与基督教沉思传统本身的来源相同，即古代教父对精神感官的教导。在这里，我们发现了丰富的材料，描述了以感性或准感性的方式与神的直接接触，神性超越，但同时感性体现，克服了传统的神学二元对立。在这种传统中，精神实践产生了一种第一人称经验主义，这种经验主义可能受到教条的指导，但不能简化为教条。近年来，学者们重新开始关注精神感官然而，到目前为止，在这方面的学术研究中，还没有多少人关注感官在冥想道路上的成熟和转变，这种成熟既包括灵魂世界观的变化，也包括随之而来的精神教育学。本文认为，采用这样一种成熟的或发展的观点，为回答对基督教超越性观点的批评提供了一个新的关键，也可以为世俗唯物主义正统提供一个强有力的、当代的回应。在下文中，我将从三重沉思路径的角度来看待精神感官，首先由Evagrius Ponticus提出，并由忏悔者Maximus进一步阐明，因为它对后来的基督教精神传统产生了开创性的影响，无论是东方还是西方。在简要介绍了精神感官的传统以及它与超越问题的联系之后，我将分析灵魂的精神感官是如何沿着沉思的道路发展的，这条道路是基于对埃瓦格里乌斯和马克西姆斯的阅读。然后，在最后一节，我试图展示这种分析如何有助于处理超越问题，并得到现代心理学领域的关键见解的支持。基督教的精神感官传统始于亚历山大的奥利金(Origen OF alexandria)。在他著作的许多地方，他谈到一种神圣的感觉，这种感觉实际上分为五种不同的感觉，与我们已经知道的五种身体感觉相对应。这五种精神感觉就像五种身体感觉的微妙版本——在一个层面上似乎是隐喻，但在另一个层面上却非常清楚地体验到真实:但更深刻地研究这些问题的人会说，有一种存在，正如圣经所说……
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