Aspect-perception is a phenomenon described in detail by L. Wittgenstein in part XI of Philosophical Investigations. The most famous example is the duck-rabbit figure, which can be viewed either as a duck or a rabbit, but the phenomenon extends well beyond visual Gestalt pictures and permeates various fields of human life, including aesthetic, moral and linguistic experience. Recently there have been attempts to apply the notion of aspect-perception to religious faith. It has often been observed that religious faith (...) involves a particular way of ‘seeing’ different objects and events (recall the famous phrase from the hymn Amazing Grace, ‘I once was lost, but now am found; Was blind, but now I see’). For this reason, the attempt to use the category of aspect-seeing to analyze religious faith may appear promising. My aim in this paper to analyze critically one such attempt, made by N. K. Verbin in ‘Religious Belief and Aspect seeing’ and ‘Can Faith be Justified?’. In these papers Verbin argues for two closely related theses regarding religious belief. The first is conceptual; she proposes that we should understand ‘certain kinds of religious beliefs which we view as central to a person having a living faith’ as ‘a type of aspect-seeing’. The second follows from the first: we should modify accordingly the way we construe justification for religious belief. In what follows I expound Verbin’s conceptual claim and present arguments against equating religious belief with seeing religious aspects. Basing myself on examples of people who see religious aspects but do not reach religious belief, I conclude that the two categories should not be conflated. Although I reject Verbin’s overall claim, however, I concede that aspect-seeing does play a significant role in justifying religious belief, although not in the way Verbin proposes. (shrink)

Walter Benjamin, Religion, and Aesthetics is an innovative attempt to reconceive the key concepts of religious studies through a reading with, and against, Walter Benjamin. Brent Plate deftly sifts through Benjamin's voluminous writings showing how his concepts of art, allegory, and experience undo traditional religious concepts such as myth, symbol, memory, narrative, creation, and redemption. Recasting religion as religious practice, as process and movement, Plate locates a Benjaminian materialist aesthetics, what the author calls an "allegorical (...) aesthetics," in order to uncover sources and establish a new locus for the study of religion. Placing the concept of an allegorical aesthetics into practice, Plate offers examinations of aesthetic productions such as Daniel Libeskind's architecture and Marcel Duchamp's ready-mades alongside religious developments such as the Hindu Bhakti movement and Jewish Kabbalistic thought. Walter Benjamin, Religion, and Aesthetics will be necessary reading for those interested in religion and the arts, aesthetics, and material culture. (shrink)

ABSTRACT George Berkeley is usually not discussed in the canonical histories of modern aesthetics. Similarly, Berkeley scholars do not seem to have paid attention to his possible contribution to modern aesthetics. Berkeley exploited certain theoretical potentials of the emerging aesthetic experience that was invented and formulated especially by his contemporaries like Joseph Addison, Richard Steele and Lord Shaftesbury. He applied these elements in shaping a theologico-aesthetic language in the very same period when Francis Hutcheson and Alexander Baumgarten wrote (...) their widely acclaimed first aesthetic theories in Europe. At the same time, Berkeley advances the linguistic and religious aspects of the modern aesthetic experience not in his theoretical, but in his pragmatical and popularizing writings. Instead of relying on a purely rational theology or a negative theology, he offers an ‘aesthetic’ one based on the model of the beautiful and the sublime. Aesthetically, this meant a re-interpretation and re-configuration of the duality of the beautiful and the sublime – decades before Edmund Burke's Philosophical Enquiry. (shrink)

Although there are distinctly American artists-Walt Whitman, Herman Melville, Grandma Moses, Thomas Hart Benton, and Andy Warhol, for example-very little attention has been devoted to formulating any distinctively American characteristics of aesthetic judgment and practice. This volume takes a step in this direction, presenting an introductory essay on the possibility of such a distinctly American tradition, and a collection of essays exploring particular examples from a variety of angles. Some of the essays in this collection extend pragmatist and process insights (...) about the important place aesthetics has in molding and assessing experience. Other essays examine the place of American aesthetics in relation to such particular forms of art as painting, literature, music, and film. Three essays attend to the aesthetic aspects of a flourishing life. In each of the essays, American aesthetics is understood to arise out of deeply felt personal, historical, and cultural backgrounds. Consequently, not only are such relatively abstract notions as harmony, fit, elegance, proportion, and the like involved in aesthetic judgment, but also religious, political, and social factors become embroiled in aesthetic discernment. Thus the ongoing pattern of American aesthetics is shown to be distinguishable from such other varieties of aesthetic thought as analytic aesthetics, New Criticism, and postmodern approaches to aesthetics. (shrink)

An analysis of the underlying neurophysiology of aesthetics and religiousexperience allows for the development of an Aesthetic‐Religious Continuum. This continuumpertains to the variety of creative and spiritual experiences available to human beings. This mayalso lead to an understanding of the neurophysiological mechanism underlying both“positive” and “negative” aesthetics. An analysis of this continuumallows for the ability to understand the neurophenomenological aspects of a variety of humanexperiences ranging from relatively simple aesthetic experiences to profound spiritual and unitarystates such (...) as those obtained during meditation. However, it may be possible through aneuropsychological analysis to determine the similarities that exist across such experiences.Thus, certain parts of the brain may be functioning in similar ways during different experiences.It may be the case that the specific neuropsychological components of a given experience maydepend on the strength of the affectual response of the person and the ability to mark suchexperiences as significant. Further, even though similar structures may be functioning duringdifferent experiences, their inhibitory and excitatory interactions may be different. Finally, byconsidering the Aesthetic‐Religious Continuum, we may eventually arrive at a betterunderstanding of how we experience and define reality. (shrink)

The phenomenon of aspect recognition is at the core of Wittgenstein's later views on logic and language; it is also central to his reflections on religious language and experience. In both contexts, the uptake and use of pictures is the critical element in concept formation and in understanding. Clarity and confusion in religious thought lie in a domain defined by the structure, aesthetics, and functions of the pictures religious people use, and by the relations among them. (...) The argument is conveyed through analyses of experiences of characters in _The Wind in the Willows and Homer's _Odyssey. (shrink)

The seventeenth-century Puritan theologian Jonathan Edwards has become popular again in contemporary theological discussion. Central to Edwards' theology is his concept of beauty. Delattre wrote the standard work on this topic half a century ago. However, Delattre approaches Edwards mainly as a philosopher, and he does not address how Edwards employs the concept of beauty to explain and defend traditional Reformed doctrines. Recent writings by McClymond, Holmes, and others have shown that defending the Reformed tradition is a fundamental concern of (...) Edwards. This work reveals how Edwards, starting with the common notion that beauty means the appropriate proportional relationship, develops a theological aesthetic that contributes to a rational understanding of major doctrines such as the Trinity, Christology, and eschatology. It shows that Edwards is both an innovative speculative theologian and a staunch defender of Reformed orthodoxy. (shrink)

The rapid acceleration of societal change has subjected contemporary individuals to prolonged periods of diverse pressures, leading to substantial psychological strain, resulting in anxiety, depression, and compromised mental well-being. Within this context, the home has evolved into a vital refuge for modern individuals, offering both physical and psychological respite. Through experimental intervention, this study examines two distinct residential groups: those adhering to traditional housing and those residing in characteristic folk houses, specifically Gannan Hakka architecture. Analysing the psychological state of contemporary (...) individuals and integrating Gannan Hakka architectural elements into folk house design through a psychologically informed approach, this research aims to enhance residents’ aesthetic experiences and alleviate psychological distress. The study involved 120 volunteers with varying psychological stress levels, categorised into characteristic and traditional folk house groups. Psychological assessments evaluated stress, self-efficacy, and quality of life. Findings reveal significantly improved psychological well-being, self-efficacy, and quality of life among the characteristic residential group, affirming the benefits of Gannan Hakka architecture integration. This research underscores the importance of addressing modern individuals’ environmental needs and proposes the integration of Gannan Hakka cultural elements into residential design to enhance well-being. Contribution: This study demonstrates the application of Hakka culture in contemporary housing profoundly influences residents’ lives, enabling both relaxation and a deeper cultural connection. This integration facilitates a comprehensive understanding of Hakka culture, promoting its preservation. Notably recognised for hospitality and diligence, Hakka culture enhances individuals’ appreciation of tradition, fostering physical and mental rejuvenation. These findings offer valuable insights for practical theology scholars and practitioners exploring the impact of religious aspects on modern residential design from a psychological perspective. (shrink)

In his most recent work, the contemporary philosopher Roger Scruton has turned his attention to religion. Although a religious sensibility ties together his astonishingly prodigious and dynamic output as a philosopher, poet and composer, his recent exploration of religious and theological themes from a philosophical point of view has excited a fresh response from scholars. This collection of writings addresses Scruton's challenging and subtle philosophy of religion for the first time. The volume includes contributions from those who specialize (...) in the philosophy of religion, the history of thought and culture, aesthetics, and church history. The collection is introduced by Mark Dooley, author of two books on Scruton, and includes a response to the writings from Scruton himself in which he develops his idea of the sacred and the erotic and defends the integrity of his work as an attempt to give a sense of the Lebenswelt (or 'lifeworld'): how humans experience the world. He argues that religion emerges from that experience and transforms us from beings bound by causal necessity into persons who acknowledge freedom, obligation and right. A unique and fascinating collection of writings that sheds light on this hitherto unexplored aspect of Roger Scruton's philosophy. (shrink)

Wittgenstein, in his characteristic way of indirectly bringing us to see an important feature in human life, said: ‘… art shows us the miracles of nature… We say: “Just look at it opening out!” This essay discusses how works of art ‘blossom’ and thus elicit an imaginative human response. Its various parts focus on the connected theme that some sensible component is essential to the production and comprehension of art. Each part, however, investigates a different aspect of the theme and (...) could stand on its own. What will be argued about this aesthetic factor in art will also be shown to cast light on our understanding of certain narrative texts and ceremonial acts of religion. (shrink)

In a concert hall, the attitude of the audience focusses on the formalistic aspects of music. In religious rituals, music is a means of leading the hearer to a spiritual experience. What happens when music, meant originally for a liturgical purpose, is played in a concert setting? Gadamer shows, with his conception of Verwandlung ins Gebilde, that an art work is never static, but carries a depth in itself, which is connected to an artistic ingenuity throughout centuries. In (...) this ‘depth’ lies the connection to the listener, which is broader than a mere aesthetical one. On the other hand, music in itself has a strong ‘theatrical’ side, which can easily surpass its contemplative aspect in consumer culture. It appears that this aspect, in combination with the formalistic-aesthetic approach of modern museum culture, of which concert culture is a part, made the hearer become almost ‘deaf ’ to the religious content; because a concert practice focusses primarily on entertaining the hearer, s/he is not able to engage in the music as a source of spiritual edification of the soul. Nevertheless, Gadamer’s conception of play makes us be aware that there will always be new, unexpected ways in which the truth comes into being in the interaction of a piece of music and its hearer. In order to create such a reality, it is necessary to turn to new and renewing hearing practices, where the play between music and the hearer has a wider range of musical experience than the mere formalistic aspect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Aspects of Christian Mystical Rhetoric, Philosophy, and PoetryRyan J. StarkThis is an article about poets and poetic philosophers who make spirited arguments. My purpose in particular is to clarify the nature of mystical rhetoric, which needs to be distinguished from secular rhetoric (i.e., “secular” as nonspiritual). As ways of existing in language, they are ontologically incommensurable, and we should treat them as such. Mystical rhetoric is that (...) into which Spirit enters, conveying to both writer and reader some aspect of providential kairos that cannot otherwise be attained. That is, God completes mystical inferences. God participates, illuminating the hearts of those who open themselves to grace through faith. Or, in other words, writers and readers who want to enter into numinous arguments must shelve the hermeneutics of suspicion. An overly critical stance actually diminishes the possibility of insight, even if it is well intended, much like nervous backseat driving, which—though aimed at producing safety—inevitably works against it. I am not suggesting, however, that skeptics are at a complete loss when approaching mystical rhetorical situations. Rather, they simply do not grasp the metaphysical, enchanted, or occult dimensions of the discourses at work, because they have closed themselves off to Spirit or—more commonly—have attempted to transmogrify Spirit into secular concepts, which distorts spirited language and leads to mischaracterizations of religious experience.1 In contrast, I provide a Christian approach to [End Page 260] mystical rhetoric, one that neither discounts nor sidesteps the real presence of the supernatural.Inspired Rhetoric and HermeneuticsFuror poeticus is a key element of mystical persuasion. The phrase literally means “poetical fury,” and the idea behind it in a Christian framework is that the Holy Spirit aids writers in creating imaginative texts (e.g., sonnets, sermons, essays, novels, blogs, etc.) or, in pernicious instances, demons aid writers.2 In either case, a mysterious force helps the author to compose. Moreover, furor touches readers or listeners, a point seldom emphasized but nonetheless central to this sublime practice of composition. Inspired writing requires inspired reading: furor poeticus needs furor lectoris.3 The Spirit aids readers in understanding mystical rhetoric, as long as those readers participate earnestly in the discourse. John Milton (1674, 7.31), for example, famously envisions such a “fit audience” in the third invocation to the Muse in Paradise Lost (i.e., the “great Argument”), where he calls on the reader for hermeneutical verve, a spirited reading to complement his enthusiastic writing. Søren Kierkegaard also writes to an audience capable of spiritually minded hermeneutics, allowing him to perform various edifying dissimulations through pseudonyms: the despairing aesthete, the unscrupulous seducer, the rigid moralist, and so forth. These inspired writers expect believing readers to contribute to their works, to complete their disputations, in fact, through spirited exegesis. Their methods of composition demand it, which is to say that writers touched by furor leave little room in their arguments for the sustainable disposition of the uninspired reader.Cicero explains spirited rhetoric and hermeneutics in De divinatione, where Quintus talks about how inspired readers experience the same type of furor as inspired writers, seers, and prophets: “Men capable of correctly interpreting all these signs of the future seem to approach very near the divine spirit of the gods whose will they interpret, just as scholars do when they interpret the poets” (1938, 226). Scholarship, in other words, is capable of tapping into mystical energy, making the scholars as prophetic as the vates on which they write. In the second book of On Christian Doctrine (1958, 75–78), Augustine also explains the importance of mystical exegesis as a form of prophecy, where sincere readers undergo the same type of inspiration as mystical writers. For Augustine, spirited reading begins with prayer and ends with revelation. In both accounts of furor, Cicero’s and Augustine’s, [End Page 261] the inspired audience and the inspired writer together experience rapture, a divine vision or illumination, which is precisely the type of communion that occurs during mystical discourses.4Still, the idea of seeking communion with God is potentially unsettling. The notion produces anxieties of psychosis, possession, and self-erasure. Plato famously expresses such concerns in Ion, for example... (shrink)

At a time in which religion is breaking away from the normative power of its traditions and new forms of spiritual experience are emerging, religious philosophy must find criteria for what a religious experience is and how to judge its truth. In their empirical critique of religion L. Wittgenstein and R. Carnap accepted two forms of religious experience, which they described with an optical and acoustic metaphor. They denied their cognitive truth value, but not their value for (...) life. However, an extended concept of truth, which encompasses every correspondence between experience and reality, can also find truth in religious experiences of “transparency” and “resonance”. They differ from aesthetic experience not only by the depth of transparency and resonance, but also by their cognitive interpretation. What is experienced is cognitively referred to a final reality: either to a “summum ens” in this world, or to the whole of this world or something unknown beyond of this world. This final point of reference is a unity of “being” and “value”. Religion makes experiences of the everyday transparent for both aspects of an ultimate reality und motivates to a life full of resonance with this reality. (shrink)

It has been argued within the new cognitive science of religion that people's actual religious concepts and inferences differ from their explicitly held religious concepts and beliefs; the latter are too complex to be used in fast online reasoning. Natural intuitions thus tend to overwrite theological doctrine and to drive behavior. The cognitive science of religion has focused on this intuitive aspect of religion, ignoring theological thought. Here I try to outline a theoretical model on the basis of (...) which it should be possible to explain the interaction of the intuitive and explicit processes in religious cognition. (shrink)

The aspects family -- A. the duck-rabbit -- B. the necker cube -- Faces, faces, faces -- Illusions -- E. "puzzle-pictures" -- Aspects and words -- A. introspection and experiment -- B. how we do things with words -- How we see things with words -- Aspect blindness -- A. imagination -- B. aspect blindness -- Fat wednesday -- Aspects and art -- A. experience -- B. seeing a painting -- Musical aspects -- Emergent meaning and (...) wine -- Ethics and aesthetics are one -- A. science -- B. from a religious point of view. (shrink)

This paper proposes to analyse the process that makes paths of action meaningful. It argues that this process is one of ‘figuration’. The term ‘figuration’ intends to outline how the experience of moral meaning is one that already positively marks out a field and to identify and analyse the mechanisms used for such marking and selection. It is my contention that these mechanisms predate the persuasion to a moral path; they are the process through which this path is constructed as (...) meaningful. This thesis is elucidated through an analysis of the tactics of meaning in Kant’s moral theory. Kant turns to aesthetics as a means of corroboration for his moral theory, but he also attempts to limit the scope of the interactions between his aesthetic and moral theory. For instance, when he writes on the topic of form in aesthetic taste or outlines the technical specifications of aesthetic judgment, it is arguably the arcane peculiarities of his system that are met. For this reason, Kant insists on the merely analogical relations between beauty and morality. However, it is also possible to see how certain aspects of Kant’s aesthetic theory execute wider, and potentially more important, functions for his practical philosophy, such as providing meaningful orientation for the ascetic moral attitude of his duty-ethics. In this respect, certain figures of Kant’s aesthetic theory may well be viewed as complementing the dependence in his moral philosophy, in the important sections on moral pedagogy and methodology, on appeals to heroic models and stories as ways of shaping and inculcating the moral disposition. This paper considers these aspects of interaction between Kant’s aesthetic and moral philosophies as both 1) a problem for the consistency of his philosophy given his avowed exclusion of aesthetic and religious elements of meaning in his duty-ethics; and 2) as a case study for the new, schematic analysis of ‘moral figuration’ outlined in the paper. (shrink)

This essay shows how two early modern literary critics, John Dennis and Nicolas Boileau, sought to map out how the mind came to know the transcendental aspects of a literary work, specifically poetry. Both theorize a non-rational faculty rooted in sensible experience which is able to gain knowledge outside of reason's grasp. The essay argues that each writer uses a religious model to describe the profoundest intellectual effects of poetry. This appropriation of a religious model, however, results (...) in an inability for both writers to account for the rationally knowable aspects of poetry along with its transcendental effects. (shrink)

In this paper, I argue that Dewey’s pragmatist aesthetics, and in particular, his concept of consummatory experience, should be engaged anew to rethink the merits of the Philosophy for Children programme, which arose in the 1970s in the US as an innovative educational programme that aims to use philosophy to help school children improve their ability to become more conscious of and make judgments about the aspects of their experience that have ethical, aesthetic, political, logical, or even metaphysical (...) meaning. Although an international success, the PFC programme has attracted many criticisms from a variety of directions. I claim that Deweyan concept of consummatory aesthetic experience is broad and flexible enough to provide a robust framework to make sense of the pedagogical horizon of PFC and therefore fruitfully engage the various critics of the movement coming from religious and social conservatives, educational psychologists, critical theorists, postmodernists/posthumanists, and professional philosophers themselves. The goal of this paper is to offer in a preliminary fashion the basic elements of Deweyan pragmatist aesthetics, which was principally elucidated in his Art as Experience, to defend PFC as a viable pedagogy. (shrink)

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these "all too familiar concepts," thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, (...) as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg's often monadic musical metaphysic by turning to Colin Gunton's conviction that the particularity and unity at the heart of God's triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse. (shrink)

What is suspense, and why do we feel it? These questions are at the heart of the first part of this study. It develops and defends the ‘imminence theory of suspense’ – the view that suspense arises in situations that are structurally defined by something essential being imminent. Next, the study utilizes this theory as an interpretative key to Søren Kierkegaard’s seminal work ‘Frygt og Bæven’. FB is an exploration of what it means to take the story of Abraham and (...) Isaac as a paradigmatic example of faith. The study argues that a core aspect of how Kierkegaard conceptualizes faith through the figure of Abraham is suspense. The argument is built upon the observation that to have faith is to be a hero. To be hero means to belong to a story. Stories manifests different conceptualizations of time. Abraham’s story, as FB frames it, is radically geared towards something imminent – it is characterized by an essential relation of suspense. The study then explores how suspense not only forms part of the conceptualization of faith, but is also part of how this conceptualization is communicated. Thus, the study argues that there exists a symmetry of suspense between the rhetorical and the conceptual levels of the text. (shrink)

Kierkegaard's notion of the aesthetic covers at least two interrelated aspects. On the one hand, it defines a way of existence characterized by either the immediate embodiment or the reflective contemplation of life's possibilities. On the other hand, it indicates the investigation of those possibilities of life within the medium of certain works of art and narratives. Both aspects entail a critical approach to existence on the basis of ethical and religious presuppositions.

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.

Abhinavagupta is undoubtedly the most famous Kashmirian medieval intellectual: his decisive contributions to Indian aesthetics, Saiva theology, and metaphysics, and to the philosophy of the subtle and original Pratyabhijna system, are well known. Yet so far his works have often been studied without fully taking into account the specific historical, social, artistic, religious, and philosophical context in which they are embedded. The purpose of this book is to show that this intellectual background is no less exceptional than Abhinavagupta (...) himself. (Series: Leipzig Studies on the Culture and History of South and Central Asia / Leipziger Studien zu Kultur und Geschichte Sud- und Zentralasiens, Vol. 6) [Subject: History, Abhinavagupta, India Studies, Religious Studies]. (shrink)

Kierkegaard’s life-long interest in the theater is well documented and reflects the deep impact of Golden Age Denmark’s vibrant theatrical culture on his thinking. Kierkegaard has extensive and excellent criticism of performances and dramatic characters both famous and obscure. Additionally, Kierkegaard has the rare distinction among philosophers of having had aspects of his life and work continually put upon the stage. The key areas of his philosophical project that are considered here alongside his theatrical aesthetic are: repetition, reflection and (...) recollection as they bear upon the aesthetics of time, the dialectical relationship between theatrics and religious life, the pseudonymous authorship in theatrical frame, and the ethical imitation of prototype. In text, Kierkegaard works out dramaturgically the limits of the communication of inwardness. Hence by examining the deep engagement between Kierkegaard and the theater, one can entertain the notion that theatricality is aesthetically necessary for his project as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Die religionstheologische Hermeneutik der Gegenwartskultur ist zu einem grundlegenden Forschungsfeld einer sich als Theorie der Religionspraxis verstehenden Praktischen Theologie geworden. Das Asthetische ist als eine zentrale Dimension des Kulturellen deshalb neu in den Mittelpunkt der Aufmerksamkeit geruckt. Die Erforschung der Zusammenhange von <I>Asthetik und Religion steht jedoch erst am Anfang. Mit dem Band kann ein teilweiser Uberblick uber den Stand der Diskussion zum Thema <I>Identitat und Differenz von asthetischer und religioser Erfahrung gegeben werden. Er bietet eine Zusammenschau unterschiedlicher Zugange zu (...) den Phanomenen bzw. differenter Theoriestrategien und weist Perspektiven fur den interdisziplinaren Diskurs auf, in denen die theoretischen Voraussetzungen und methodischen Massgaben fur die Verhaltnisbestimmung von religioser und asthetischer Erfahrung zu klaren sind.". (shrink)

The aesthetic spirit in Paik Nam June’s video art, TV Buddha, originated in the aesthetics of Zen Buddhism, and the parameters that established Paik’s aesthetic comprised the indigenous Eastern aesthetic idea of dongjing 動靜. Yi 逸 is the paramount aesthetic in Zen Buddhism, suggesting the transcendence of preexisting tracks and conventions. Paik’s behavioral music, to which he was dedicated before pioneering video art in earnest, was related to yi in terms of the complete aspects of forms, themes, and (...) so on, evidently under the influence of avant-garde musical composer John Cage. The Zen Buddhist aesthetic—and Paik’s artistic motto—is to capture the essence of the self and the world through the destruction of stereotypes. Paik’s artistic uniqueness lies in his attempts to combine his traditional culture and spirit—the culture and ideas of Korea and Eastern Asia—with cutting-edge technology. The hallmark of Paik’s video art can be understood as a suggestion of philosophical subjects guided by the interrelation between a graphical presentation on a TV screen and the whole installation setup. The philosophical subject in TV Buddha is Zen Buddhist meditation symbolized in the structure of dongjing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:An Unconscious Dimension of Thinking, Situations, and La Vida:Reflections on Bethany Henning's Dewey and the Aesthetic UnconsciousGregory Pappasthis book is doing different related and valuable things. First, Bethany Henning explores a neglected dimension of Dewey's thought. In particular, the book inquires into the dimension of the unconscious and tries to develop what she considers an "implicit" "theory of the unconsciousness" or of the "aesthetic unconscious" in Dewey's philosophy. Then, (...) based on all of the above, it provides a diagnosis and possible solution to a problem with philosophers and with American culture.The neglected dimension of Dewey's thought that Henning explores highlights the ways in which Dewey foresaw what feminist thinkers have said, and recent scientific accounts of human life and thinking are confirming: What we "feel" (what is "qualitative," "ineffable," and "noncognitive") is key to how to think and how to live (guidance and meaning). It has therefore been puzzling to me (along with John McDermott, Tom Alexander, Mark Johnson, and a few others) why even Dewey scholarship has to a large extent neglected exploring this aspect of his thought. Frustrated with Bertrand Russell, Dewey says that "Mr. Russell has not been able to follow the distinction I make between the immediately had material of non-cognitively experienced situations and the material of cognition—a distinction without which my view cannot be understood" (LW 14:33; emphasis added).More importantly, by neglecting this insight and these aspects of his thought, we have failed to utilize one of the most important resources to diagnose sociopolitical-moral problems today! This is what I have been trying to do in recent years, and I see Dr. Henning as trying to do the same. She is not just providing a theory of the unconscious for the sake of speculation, but she does so with instrumental intent, in the hope that it will help us better approach a concrete social-cultural problem we suffer in our society, a topic to which I will return. [End Page 84]My reading of Dewey and the Aesthetic Unconscious has provoked a few questions:(a). Is there, in Dewey, a conception of aesthetic and religious experience that can be understood as an "implicit theory of the unconscious"?(b). Even if there is one, do we need one? For what purpose?(c). What would we miss if we were to say what needs to be said and explored by Henning by using different terms/concepts and avoiding the possible misunderstanding and dangers of making reference to "the unconscious"?(d). Would Henning agree that the problematic aversion or repression in American culture that concerns us is more than that of the unconscious, the qualitative, body, and nature that form the focus of her book?(e). Henning agrees that we need more than art and "deep" psychology to ameliorate the problems that concern us. What is this "more"? How?In regard to (b), I can think of one good purpose, which Henning develops in Dewey and the Aesthetic Unconscious: to engage in a dialogue with psychoanalysis and contemporary philosophies that draw from psychoanalysis and feminism (e.g., Kristeva) or, in general, other academics concerned with the same problems. I also wondered as I was reading the book why Henning does not put Carl Jung in dialogue with Dewey as well, just as a matter of curiosity. But I wonder, if we need to develop a "theory of the unconsciousness" or of the "aesthetic unconsciousness" to both make a contribution to the "depth" of lived experience (La Vida) and also deal with the social-cultural problems that concern us.There are dangers with talking about or making reference to "the" unconsciousness or "the" aesthetic unconsciousness and theorizing about them. The problem is that it comes across as a noun, and not as way of participating in La Vida or nature, that is continuous in a significant way with what is more conscious and more cognitive: we are at any time more or less conscious. But Henning seems aware of all of this. She is careful enough to make clear that she is acknowledging continuity, but I confess to "feeling" uncomfortable sometimes with her reference to that... (shrink)

This book considers how places come to acquire special religious significance, as sites for prayer or other kinds of devotional activity. It examines the ways in which sacred sites function, and the ways in which sites which have no explicitly religious import may come to bear a religious meaning. One of the concerns of the book is to show how 'religious experience' is often not directly an experience of God, but rather an experience of some material (...) context, or place, and the religious significance which attaches to that context. The book draws on the phenomenological literature on sacred space and the emerging literature in philosophy of place, to provide an account of how religious belief is connected integrally to our embodied relationship to the material world. (shrink)

Ludwig Wittgenstein gave priority to aesthetics over other disciplines due to its invaluable capacities for revealing certain aspects of the nature of human understanding and for guiding our actions toward an ethical life. Although Wittgenstein did not focus on these issues in a systematic way, these worries were present in his philosophy during his lifetime. That is why I use a very wide range of his writings, from the Tractatus to letters and diaries. Aesthetic inquiries can throw light (...) upon the existence of an intransitive understanding–that is, a kind of knowledge that cannot be expressed by language shared by all competent users of a language. I also discuss Wittgenstein’s conception of ethics in order to explain the close relationship that he proposed between ethics and aesthetics. I hope this will clarify why he believed there was so much to learn from paintings, films, music, poems, or novels. I compare works of art and religious belief and how the former can help us to guide our lives as the latter does. I do this while extending the scope and claiming the importance of aesthetic education, given that it can help us to deal with our nature and with our history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching (...) TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

In Igbo traditional religion (ITR), there are different means through which therapy and healing are achieved. One such means is through the Nsukka-Igbo Ọmabe masquerade festival rituals and performance theatre. To seek out this aspect of the cultural festival that has been under-researched, this study delves into detailed discussions of the pre-arrival, arrival, events in between, departure and postdeparture of the Ọmabe masquerade festival. Relying on a qualitative method, the study analytically and descriptively discusses the data gathered through participatory observations (...) and interview sessions with some of the devotees possessing sufficient knowledge of the masquerade tradition and festival. Photographs have been included to flesh out the narratives, as well as enrich and enhance the readers’ engagement with the article. Also, relevant materials from extant literature are quoted and cited. The study examined the rituals, music, performances and other interesting key components of the festival and found that the traditional practice through masquerade festivals such as the Ọmabe is therapeutic, leading to emotional activation and healing. Undoubtedly, this has been sustaining its re-enactments in the face of neoreligious intolerance, urbanisation, modernity and globalisation that have been adversely affecting cultural practices. Contribution: The article critically engages with the reappraisal of the Ọmabe cultural heritage festival among the Nsukka-Igbo people, providing thought-provoking, impactful research as well as insightful reading towards achieving an understanding of its rituals, materiality and performance theatre and their accompanying therapy and healing benefits. Bearing in mind that HTS Teologiese Studies/Theological Studies focuses on religious issues and that the ‘masking festival’ is a part of Indigenous religious practice, the author considers this article to be suitable for its objectives. (shrink)

The Scottish scholar James McCosh was a champion of the Free church, a successful and much-published philosophy professor at Belfast for 16 years, and an energetic and innovative President of Princeton University from 1868 to 1888. The Religious Aspect of Evolution was published in 1888, and this second edition from 1890 took account of A. R. Wallace's latest work, Darwinism. McCosh, who already in Ireland had developed a 'theory of the universe conditioned by Christian revelation' was one of very (...) few clergymen in America who defended evolutionary theory. He impressed upon his students that while there seemed to be great truth in Darwin's theory, the work of the coming age must be to separate that truth from the error springing up around it. This would enable scholars to follow and even embrace science while also retaining their faith in the Bible. (shrink)

La pensée est un patrimoine discret et secret au point qu'elle n'est pas habituellement considérée comme un patrimoine au sens propre. Pourtant elle est à l'origine de tous les autres. Probablement sans l'exercice de cette faculté qui leur est propre, les êtres humains n'auraient jamais conçu leurs monuments extraordinaires ni leurs constructions admirables. Du plus petit phénomène jusqu'à la loi générale qui en coordonnerait les enchaînements, la recherche cultivée à l'intérieur de jardins divers et multiples tout le long de l'histoire (...) révèle un désir caché d'absolu. Comme si le jardinier dans l'aspiration d'élargir son horizon avait été amené à un certain moment à pousser les murs et à se retrouver chez le voisin, dans le monde et hors du monde par étapes successives. Un jeu de l'observation, de la mémoire et de l'imagination. En 2003, dans le cadre idéal de la Chartreuse de Valbonne, quelques représentants de disciplines diverses allaient reprendre ce jeu autour d'un thème aussi libre que contraignant tel que l'Espace Spirituel peut l'être. Quelques architectes, mathématiciens, musicologues, musiciens, et philosophes évoquent l'expression : Espace Spirituel chacun selon son angle de vue. L'idée d'Espace dans une cathédrale, dans le désert ou dans un chou fleur... Le Spirituel traverse les cultures du christianisme au judaïsme à l'indouisme. Le regard a l'écoulement du temps et les vignobles de la Chartreuse de Valbonne comme perspective. (shrink)

This Is A New Release Of The Original 1913 Edition.

The national hero of the present-day Albania is Skanderbeg’s father, Gjon (Yuvan) Kastrioti. Despite the fact that the Albanians tried to resist the Ottomans expeditions during the reign of Gjon, they were eventually defeated. As a result of this defeat by Sultan Murad II in 1423, Gjon was forced to give his four sons as captives. The youngest of his children was Skanderbeg, who together with three older brothers was given as captive due to the defeat by the Ottomans, had (...) to reside in the palace for many years. During this time, he had the opportunity to obtain a remarkable Ottoman education and to benefit from other privileges provided for them. It is obvious that the facilities provided by the Ottomans as well as the personal abilities and skills he gained in the Ottoman Empire enabled him to achieve successes in various fields. Therefore, he was able to be promoted to important positions within the Ottoman Empire. However, some of his demands were rejected and he became deprived from some of privileges granted to him due to the promises and incentives of the opponents of the Ottomans and some small victories resulting from his father's dominance in the direction of rebellion. During this rebellion against the Ottomans, they have received both material and spiritual aid Western powers as result the warm relations they enjoyed with the Western powers. In addition, these warm relations gave the opportunity to be acquainted with the Western culture. In the course of events, it can easily be said that Skanderbeg became a renowned figure not only in the Eastern culture but also in the Western culture. After his rebellion against the Ottomans, he denounced Islam and returned to his former Christian faith. There have always been controversies about the sect he adopted related to the Christian belief whether became a Catholic or Orthodox Christian. Although he had close ties with the Pope, the greatest enemy of the Ottoman Empire, his rebellions against the Ottomans did not originate from his religion.In this study, we appealed mostly to the daily reports of the priests of the time, primarily in Albanian and Turkish and English as well. In terms of Ottoman and Turkish - Albanian relations, the issue is a very important one and therefore has occasionally been evaluated in view of the historical perspective of religions. (shrink)

Neuere Ästhetiken wenden sich verstärkt der Aufklärungsepoche zu. Mit ihren Ästhetiken soll statt der Kunst aisthesis, statt des Schönen das Erhabene, statt der Vernunft das je ne sais quoi rehabilitiert werden. Dabei wird ein zentrales Moment im historischen Selbstverständnis sowohl der Aufklärung wie ihrer Gegner zum blinden Fleck: ihr Verhältnis zu Theologie und Religion. Der Autor schreibt eine Geschichte der Ästhetik von der Entstehung der Ästhetik bis zum Ende der Kunstperiode, die den Gegensatz zwischen theologisch motivierten ästhetischen Denken und der (...) Lösung der Ästhetik von der Religion als zentrales, dialektisches Motiv des umstrittenen Ästhetikbegriffs in seiner gesellschaftlichen Dimension herausarbeitet. Begriffs- und problemgeschichtlich rekonstruiert er die Ästhetikgeschichte entlang einer das 18. Jahrhundert durchziehenden Bruchlinie, die mit dem Gegensatz zwischen Nachahmungsästhetik und Aisthetisierung von Offenbarungswahrheiten beginnt. (shrink)

I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or the (...) solution of an aesthetic puzzle is exhibited. This particular form of seeing both explains why Wittgenstein thought that hypothetical explanations about the origins of a ritual are irrelevant to appreciating its meaning and elucidates his understanding of rituals, which involves seeing “internal relations” and “formal connections.” The upshots of the account for work in anthropology are discussed. (shrink)