This paper explores the contextual value of solitude in learning; in so doing, it attempts to suggest an alternative method of instruction that is based on aesthetics as the reciprocal relationship between emotions and intellect, and between action and contemplation. Such an aesthetic education or method seeks to guide the student towards the attainment of her own life: to perfect, as much as possible, her human qualities in what she does by paying attention to the things of Beauty. The method (...) that the essay uses is both historical and interdisciplinary: it draws from theology, philosophy, the sciences and visual art; and, it is guided by an explanatory perspective that is constructive. (shrink)

While most educational practices today place an excessive amount of attention on discourse, this article attaches great importance to the reciprocity between speech and silence by drawing from the writings of Plato's Socrates, Augustine, and Paul Gauguin for whom this reciprocity is of the essence in learning. These three figures teach that we learn to speak, listen, and act in relation with the silence of our thoughts. This article claims that Socrates' dialectic is nothing but inward or silent dialogue, which (...) reappears in or is advanced by Augustine, and which is also shared by Paul Gauguin. Yet its manifestation differs one from the other: in Socrates, it manifests itself as silence of thought; in Augustine, as inner vision or contemplation; and in Gauguin, as creative thought or activity. By neglecting or separating speech from silence, today's educational methods do not prepare students to respond to life's questions; neither do they enable students to infuse their conversation with an appreciation of life's beauty. (shrink)

This article draws on the conclusion of the Commission on the Humanities in The Humanities in American Life that the aim of a liberal arts education is to foster critical reasoning through the use of language or discourse. This paper maintains that the critical method is in itself insufficient to achieve its purpose. Its failure is in its exclusion of feeling and of silence from the thinking process. Hence, the ultimate object of my analysis is to correct and to complement (...) the critical method with the aesthetic method of teaching the humanities. Central to the aesthetic method is art as a means to cultivate contemplative and creative skills. The essay brings out and examines the value of art as voices of silence in Plato, Aristotle, Augustine, Dionysius, Bonaventure, Maurice Merleau‐Ponty and Paul Gauguin, and pays particular attention to the diaries of Eugène Delacroix. In the course of doing so, I shall be trying to make clear that art teaches us how to listen and how to encounter ourselves totally and completely. It goes on to suggest several pedagogical principles or consequences that flow from this aesthetic pedagogy. (shrink)

The beautiful is something on which we can fix our attention…. The attitude of looking and waiting is the attitude which corresponds with the beautiful.Attention, taken to its highest degree, is the same thing as prayer.At the end of the Phaedrus, Socrates suggests to his friend Phaedrus that they should offer a prayer to the gods before they returned to the city from the country, where they had gone to discuss the notion of love.1 To which suggestion Phaedrus replies: "By (...) all means." Socrates then proceeds to offer a prayer of inner beauty and of inner wholeness, asking: "Beloved Pan … give me beauty in the inward soul; and may the outward and the inward man be at one…. Anything more? The prayer, I think, is .. (shrink)

ABSTRACT This article attempts to trace the influence of the Romantic poets Wordsworth and Shelley and of art on Alfred North Whitehead's philosophy of organism. This influence consists of an imaginative structure as to Whitehead's understanding of nature and of content as to the aesthetic values of beauty, truth, and the good.

The article attempts to clarify the appeal to the Benedictine ideal that Alfred North Whitehead (1861–1947) makes in The Aims of Education and Other Essays as a way to renew the life of the spirit in education. In particular, the essay will consider St. Benedict's three central themes of Whitehead's philosophy: freedom and discipline, the teacher as artist and the art of life, and universities as workshops or homes of creative energy. The aim is to bring about a harmony of (...) thought and action, the mind to the feelings of the heart, to subordinate scientific or critical pedagogy to aesthetic‐spiritual instruction. This deserves our attention because today's educational theories and practices emphasize the technical, the critical, and the social sides to the neglect of the aesthetic‐spiritual side. On both its practical and theoretical side, the educational theory of Whitehead falls within the Benedictine tradition of ora (meditative reading) and labora (work). (shrink)

Philosophy is mystical. Mysticism is direct insights into the depths as yet unspoken.What things are … refer to depths beyond anything which we can grasp with a clear apprehension.Art does not reproduce the visible; rather, it makes visible.Art and mysticism or negative theology play a central role in the philosophy of Alfred North Whitehead : they show him the cosmos from the unseen, the unspoken, and the unknowing, and therefore from "the ultimate mystery of the universe,"1 from "supreme Beauty", and (...) from "the infinite [primordial]2 ground"3 of all things. This means that Whitehead is looking at the world not as a philosopher of science but as an... (shrink)

The artist or the poet possesses an interior light which transforms objects to make a new world of them—sensitive, organized, a living world which is in itself an infallible sign of the Divinity, a reflection of Divinity. For me now, silence and isolation are useful. Only superficial painters need fear them. If education has for its object the integral development or growth of the human self, then it should cultivate not only the faculties of the body and the mind but (...) also the faculty of the spirit. This means that education must be imbued with the aesthetic in its method and aim; it alone, Henri Matisse teaches us, enables us to make contact with divinity. For Matisse, the first step in this.. (shrink)

Education takes for granted that sight is there but that it isn’t turned the right way.A work of art... provokes in us... an image, which in our souls awakes surprise—sometimes, meditation—often, and always, the joy of creation.To place oneself in the path of beauty is the basic impulse underlying education.In The Aims of Education, Alfred North Whitehead claims that the goal of education is to cultivate an “aesthetic sense of realized perfection”1—namely, to instruct us in the way of the beautiful. (...) Beauty, Whitehead explains in Adventures of Ideas, is the highest value to attain; apart from it, “[t]ruth is neither good, nor bad.”2 Nor is the world good. Whitehead tells us that the adventure of the world is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 99-113 [Access article in PDF] Philosophical Silence and Spiritual Awe Angelo Caranfa In the philosophical transcending of question and answer we arrive at...the stillness of being. 1 What interests me...[is] that which best permits me to express my almost religious awe towards life. 2"There exists a language of the intelligence, which has come down to us as the language of the word," (...) declares René Huyghe. "Art, however, is a language of the spirit, of our feeling as well as our thinking nature, our nature as a whole in all its complexity." 3 This essay addresses the education of intelligence or the word in the philosophy of Karl Jaspers (1883-1969), and the instruction of the spirit in the art of Henri Matisse (1869-1954), so as to clarify human existence in its wholeness or totality. Jaspers and Matisse reject the split between the word and the spirit, and instruct us that the way to completion or self-realization is through a life lived in silence and in spiritual awe. Without silence, according to Jaspers and Matisse, it is impossible to philosophize or create, and therefore to learn.To integrate silence or solitude into human existence by weaving it into the whole approach to teaching the liberal arts or the humanities is the pedagogical concern of this essay. Its implications for students will be briefly discussed at the conclusion. But first, let me sketch the general movement of the basic ideas that the essay develops.The theme that connects the narrative is that artistic-aesthetic education alone can lead students along the path to self-completion by integrating silence or solitude into their life of learning. Jaspers and Matisse instruct that silence or solitude is the very source of philosophical knowledge and of artistic creation. When the human mind comes face to face with the mystery of existence, explains Jaspers, silence or solitude is there to lead it to perceive or understand this mystery. This understanding is not a truth of intellectual [End Page 99] or rational knowledge, but a truth of the spirit, which is the knowledge of art or the aesthetic, as Matisse illustrates. Thus the relationship between art and philosophy is one of enrichment and of completion, not of poverty and dilution of knowledge. What allows us to grasp or understand the mystery of existence is love, according to Jaspers and Matisse.Love, they claim, is born of the self's desire to complete itself, to root itself in a source outside itself, to overcome its limitations in pride, arrogance, selfishness, hatred, and deceit by submitting itself to humility, purity, sincerity, simplicity, truth, and a higher love: God's Love. Then, concludes Jaspers, the self rises above or beyond philosophical knowledge, just as God's love rises above all living beings, concludes Matisse, and it achieves wholeness in God's Love or Word or Spirit. But the Word of God can be heard only in silence, in peaceful contemplation and in emptiness of mind, so that both the senses and the soul can be absorbed totally and completely into the radiance and into the unspeakable Word of God. Thus Matisse uses light and colors in his art to express, reveal, make us see and hear God's voice in the world and in us. As Jaspers's philosophical transcending of question and answer is to lead us upward into the world of eternity, rooting ourselves, transcending ourselves, transforming ourselves, freeing ourselves, creating for ourselves an existence that is truly sublime, and therefore whole. Jaspers's Aesthetic of the Silence of Being Jaspers is not known for his contribution to philosophy of art. In fact, he does not discuss art or aesthetics per se. 4 Still, his aesthetics follows quite consistently and logically from his philosophy as outlined in Way to Wisdom. The desire to lead the philosophical life, says Jaspers, expresses itself through situations, thought or contemplation, or reflection, and through choices or inner actions. Jaspers maintains that the human self is "on-the-way" to self-completion, or self-awareness, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 99-113 [Access article in PDF] Philosophical Silence and Spiritual Awe Angelo Caranfa In the philosophical transcending of question and answer we arrive at...the stillness of being. 1 What interests me...[is] that which best permits me to express my almost religious awe towards life. 2"There exists a language of the intelligence, which has come down to us as the language of the word," (...) declares René Huyghe. "Art, however, is a language of the spirit, of our feeling as well as our thinking nature, our nature as a whole in all its complexity." 3 This essay addresses the education of intelligence or the word in the philosophy of Karl Jaspers (1883-1969), and the instruction of the spirit in the art of Henri Matisse (1869-1954), so as to clarify human existence in its wholeness or totality. Jaspers and Matisse reject the split between the word and the spirit, and instruct us that the way to completion or self-realization is through a life lived in silence and in spiritual awe. Without silence, according to Jaspers and Matisse, it is impossible to philosophize or create, and therefore to learn.To integrate silence or solitude into human existence by weaving it into the whole approach to teaching the liberal arts or the humanities is the pedagogical concern of this essay. Its implications for students will be briefly discussed at the conclusion. But first, let me sketch the general movement of the basic ideas that the essay develops.The theme that connects the narrative is that artistic-aesthetic education alone can lead students along the path to self-completion by integrating silence or solitude into their life of learning. Jaspers and Matisse instruct that silence or solitude is the very source of philosophical knowledge and of artistic creation. When the human mind comes face to face with the mystery of existence, explains Jaspers, silence or solitude is there to lead it to perceive or understand this mystery. This understanding is not a truth of intellectual [End Page 99] or rational knowledge, but a truth of the spirit, which is the knowledge of art or the aesthetic, as Matisse illustrates. Thus the relationship between art and philosophy is one of enrichment and of completion, not of poverty and dilution of knowledge. What allows us to grasp or understand the mystery of existence is love, according to Jaspers and Matisse.Love, they claim, is born of the self's desire to complete itself, to root itself in a source outside itself, to overcome its limitations in pride, arrogance, selfishness, hatred, and deceit by submitting itself to humility, purity, sincerity, simplicity, truth, and a higher love: God's Love. Then, concludes Jaspers, the self rises above or beyond philosophical knowledge, just as God's love rises above all living beings, concludes Matisse, and it achieves wholeness in God's Love or Word or Spirit. But the Word of God can be heard only in silence, in peaceful contemplation and in emptiness of mind, so that both the senses and the soul can be absorbed totally and completely into the radiance and into the unspeakable Word of God. Thus Matisse uses light and colors in his art to express, reveal, make us see and hear God's voice in the world and in us. As Jaspers's philosophical transcending of question and answer is to lead us upward into the world of eternity, rooting ourselves, transcending ourselves, transforming ourselves, freeing ourselves, creating for ourselves an existence that is truly sublime, and therefore whole. Jaspers's Aesthetic of the Silence of Being Jaspers is not known for his contribution to philosophy of art. In fact, he does not discuss art or aesthetics per se. 4 Still, his aesthetics follows quite consistently and logically from his philosophy as outlined in Way to Wisdom. The desire to lead the philosophical life, says Jaspers, expresses itself through situations, thought or contemplation, or reflection, and through choices or inner actions. Jaspers maintains that the human self is "on-the-way" to self-completion, or self-awareness, or... (shrink)

This essay tries to demonstrate two distinct but complementary visions to a central theme of Christian faith: humanity’s redemption in the crucified Christ. It will attempt to show how the poetics of Simone Weil (1909–1943) and the poetic art of Georges Rouault (1871–1943) embody different understandings of Christian faith. Considering faith from a philosophical approach, Weil detaches the sufferings of Christ from the totality of salvific history. Viewing faith from the artistic approach, Rouault places the crucified Christ in the context (...) of the history of salvation, including Mary and the Church. Though different from one another, these two visions reveal to us a light in the midst of our dark or suffering existence that makes audible or perceptible the silence of God’s love in Christ that is its source. (shrink)

Focuses on the enduring side of philosophical positions from the viewpoints of theology, science, literature, and social and political philosophy. Emphasizes the conflict and continuity of human values.