Translation (French to English) of Jean-Luc Nancy's "L'Annoncée.".

In the Greek mythology the concept of annunciation has been often associated with the figure of “winged messenger”, in Greek “anghelos”, while in the Christian tradition it usually recalls the archangel Gabriel in his announcing to Mary the generative act per excellence: the birth. In this paper I take into consideration Botticelli’s Cestello Annunciation: the image represented in this painting suggests the interpretation of the annunciation from the viewpoint of transformation, i. e., of the crisis and the (...) birth of something that was not there before. What is special in the annunciation that transforms? In Botticelli’s masterpiece, Mary doesn’t only comprehend something that she didn’t know before, but she also feels the an-nouncement directly in her own flesh: the annunciation that transforms doesn’t exclusively let her understand something, but also allows her to feel it directly. If this is true, every transformation has its annunciation. (shrink)

Botticelli and Tizian depict the Annunciation in two very different ways. Botticelli portrays a kneeling angel in an act of guiding from below, while Tizian represents an angel imposing himself from above with an authoritarian forefinger. Botticelli's painting suggests an intention of orientation that is not authoritarian yet able to bring about a transformation (Umbildung). It also suggests that an individual's transformation cannot be achieved in a closed solipsistic dimension, but requires a disclosure from otherness. My theory is that (...) at the origin of ethics there is a non-authoritarian way of orientation that comes from otherness and arises from the emotional sphere thanks to a "care of desire". The expression cura sui has often been interpreted as a care confined to a private and solipsistic dimension with the aim of strengthening the self-referential subject. By "care of desire" I mean a care not turned upon itself but made possible by a disclosure coming from otherness and addressed to the transformation of the individual and of society. In the human existence, emotions reveal an extraordinary plasticity. They are not already regulated by instinct but develop and get to maturity even many years after biological birth. Moreover, this maturation process does not follow a universal process identical for everyone, being different for every individual. In fact it finds its realization in the unique order of feelings (ordo amoris) that characterizes every individual. Emotions guide actions and the way we interact with the others and with the world. In the human existence they become plastic and don't have only a homeostatic function of self-regulation. They give flexibility to our way of perceiving, of existing and of taking our position in the world. The care of desire is dedicated to the plasticity of emotions and makes ethics, i.e. a person's formation process (Bildung) and flourishing, possible. It also allows the transition from the “environmental closedness” (Umweltgeschlossenheit) to the world-openness (Weltoffenheit). To sum up, the care of desire implies the transition from a solipsistic self-care to a “care for world-openness”. From this point of view, emotion is no more the secondary result of a cognitive process, but at the origin of every formative, perceptive and cognitive process: In the beginning was the emotion. Yet in this process of creative transformation not every emotion has the same significance: at the core of emotions’ plasticity there are love and wonder (thaumàzein), whose peculiar feature is “lack of envy” (aphthonoi). (shrink)

As the world has been left reeling by the large and continuous loss of human lives due to the current pandemic, Pope Francis offered "Urbi et Orbi" (To the City and the World) in his blessings. He led a recitation of the Lord's Prayer on the feast of the Annunciation which was live streamed around the world, renewing his invitation to pray incessantly for the cure of the sick as well for the medical caregivers. As places of worship across (...) the world are closed due to the COVID-19 pandemic, people of faith need to either offer prayers within the restricted walls of their homes or make use of the virtual platforms available. One way to sustain communal worship is to rely on technology and that is how some of the temples and Gurudwaras in India are engaging with their communities. They have resorted to audio kirtan (call and response chanting) and songs through which they are delivering sermons and messages to their devotees. Whilst many temples have remained closed, some temples and Gurudwaras are still not ready to follow the restrictions implemented against gatherings. Flouting lockdown, several devotees have assembled outside the local temples of West Bengal and Patna on the occasion of Ram Navami and to offer Pujas (prayer rituals) seeking relief from COVID19. However, the annual festivals to honour Lord Ram at Ayodhya – where thousands gather – have been called off. (shrink)

In this article, I show the semantic connection between one pictorial detail of the traditional Annunciation iconography in Christianity and an apocryphal detail of the Virgin Mary biography, dating back to the antique metaphor of the body as clothing or cloth. In the Annunciation scene, the archangel Gabriel and the Mother of God are present, while the Virgin is often depicted with a spindle and a purple yarn in her hands. This detail sends the viewer to the metaphor (...) of birth as the creation of flesh and blood, as the spinning of the body in the womb of the mother, and also symbolically means the entry of God into the corporeal world through the Virgin and the blood sacrifice offered for the salvation of the world. The described “apocryphal” detail of the Annunciation scene can be understood as a visualization of the metaphor, known in antiquity, of the body creation as spinning or weaving. (shrink)

Intelligibility in the human sciences, as elsewhere, is born of tradition. The present inquiry is into the traditions currently deployed in the human sciences to achieve credibility. In particular, how are we to understand the character of voice in human science writings such that they achieve rhetorical power, and how do these writings variously position their readers? Four traditions of voice are identified: the mys tical, the prophetic, the mythic and the civil. These modes of annunci ation are contrasted with (...) two additional genres of more recent, postmodern vintage: the autobiographical and the fictional. Illustra tions are provided from major scientific writings. The modes of voice are contrasted in terms of the functions served within the sciences, along with their limitations in communicative capacity, and the cultural forms of life which the author-reader relationships variously invite. (shrink)