Christian sermons characteristically result from the interaction of a biblical text and the social and cultural contexts in which the sermon is created and into which it is spoken. In this regard, biblical texts are understood not as containers of unchanging truth but as fields of meaning capable of yielding different insights in each new context, and sermons constitute oral performances of these insights. As a test case, American Christian sermons based upon the so-called fifth commandment (“Honor your father and your mother …”) were examined from two time periods: 1960–1980 and 2000–present. In the earlier period, a time of anxiety about changing norms of social authority, the sermons typically presented the fifth commandment as addressed to young children, calling them to obey their parents. In the later period, a time when the large baby boomer generation is increasingly assuming care for aging parents, the sermons typically presented the fifth commandment as addressed not to youth but rather to adults charged with the responsibility to care for the elderly. While understanding the fifth commandment as addressed to adult children is probably closer to the original meaning of the text, both audiences for the commandment (adult children and youthful children) are within the field of meaning of the text and, indeed, both understandings find expression elsewhere in scripture.

This article examines the material culture of neuroscientist Vilayanur S. Ramachandran’s research into phantom limbs. In the 1990s Ramachandran used a ‘mirror box’ to ‘resurrect’ phantom limbs and thus to treat the pain that often accompanied them. The experimental success of his mirror therapy led Ramachandran to see mirrors as a useful model of brain function, a tendency that explains his attraction to work on ‘mirror neurons’. I argue that Ramachandran’s fascination with and repeated appeal to the mirror can be explained by the way it allowed him to confront a perennial problem in the mind and brain sciences, that of the relationship between a supposedly immaterial mind and a material brain. By producing what Ramachandran called a ‘virtual reality’, relating in varied and complex ways to the material world, the mirror reproduced a form of psycho-physical parallelism and dualistic ontology, while conforming to the materialist norms of neuroscience today.

The article discusses attempts to visualise the soul on photographic plates at the end of the nineteenth century, as conducted by the French physician Hippolyte Baraduc in Paris. Although Baraduc refers to earlier experiments on fluidic photography in his book on The Human Soul (1896) and is usually mentioned as a precursor to parapsychological thought photography of the twentieth century, his work is presented as a genuine attempt at photographic soul-catching. Rather than producing mimetic representations of thoughts and imaginations, Baraduc claims to present the vital radiation of the psyche itself and therefore calls the images he produces psychicones.

The article first discusses the difference between this method of soul photography and other kinds of occult media technologies of the time, emphasising the significance of its non-mimetic, abstract character: since the soul itself was considered an abstract entity, abstract traces seemed all the more convincing to the contemporary audience. Secondly, the article shows how the technological agency of photography allowed Baraduc’s psychicones to be tied into related discourses in medicine and psychology. Insofar as the photographic plates displayed actual visual traces, Baraduc and his followers no longer considered hallucinations illusionary and pathological but emphasised the physical reality and normality of imagination. Yet, the greatest influence of soul photography was not on science but on art. As the third part of the paper argues, the abstract shapes on Baraduc’s plates provided inspiration for contemporary avant-garde aesthetics, for example, Kandinsky’s abstract paintings and the random streams of consciousness in surrealistic literature.