This volume engages in conversation with the thinking and work of Max Charlesworth as well as the many questions, tasks and challenges in academic and public life that he posed. It addresses philosophical, religious and cultural issues, ranging from bioethics to Australian Songlines, and from consultation in a liberal society to intentionality. The volume honours Max Charlesworth, a renowned and celebrated Australian public intellectual, who founded the journal Sophia, and trained a number of the present heirs to both Sophia and (...) academic disciplines as they were further developed and enhanced in Australia: Indigenous Australian studies, philosophy of religion, the study of the tension between tradition and modernity, phenomenology and existentialism, hermeneutics, feminist philosophy, and philosophy of science that is responsive to environmental issues. (shrink)

The thesis of this book, first published in 1972, is that Kant's notions of 'absolute worth', the 'unconditioned' and 'unconditioned worth' are rationalistic and confused, and that they spoil his ontology of personal value and tend to subvert his splendid idea of the person as an End in himself.

Professor Max Charlesworth and I worked, at Deakin University, on a course, 'Understanding Art'. Max was interested in the Social History of Art and in art as: 'giving form to mere matter'. Here 'form' might be read as 'lucid', 'exemplary', 'beautiful' etcetera. I am an Aristotle Poetics 4 man '… imitating something with the utmost veracity in a picture', and an Aristotle and John Cage man: 'Art is the imitation of nature in the manner of operation. Or a net'. (Cage) (...) (See Aristotle Meteorologica, 381b Book iv.) I was invited by the University of Melbourne to lecture on The Philosophy of Art, which I did for five delightful years. There I included the Heidegger essay, giving it as favourable a reading as I could. Unfortunately I have mislaid my marked-up copy and was forced to re-visit the essay, cold. My new reading lacks - in most respects - my former geniality. Kant's Aesthetic Ideas give us more than Heidegger does. So: I stuck with Aristotle, Cage and Kant. (shrink)

Hume was wrong about getting an ‘ought’ out of an ‘is’: We do it all the time. The precaution which ‘authors do not commonly use’ is a relevant principle which we insert between mere is and axiological ought. Pamela in Richardson’s Pamela had one notable principle: qv. Kant’s later insistence that we ‘Act only on that maxim that you can at the same time will be an universal law’ sinks Hume.

Maxwell John Charlesworth, cofounder with Graeme E. de Graaff, of Sophia , died suddenly and peacefully at home on the second of June 2014. Born on the thirtieth of December 1925 in Numurkah, Victoria, Max took his MA in Philosophy at the University of Melbourne in 1948. At that time, the Melbourne Department of Philosophy was the preeminent school in Australasia. He married Stephanie Armstrong in 1950. Between 1950 and 1952, he was hospitalized for TB. On his recovery, he studied—1953–1955—at (...) the University of Louvain, where he took his PhD avec la plus grande distinction. He was later to become Visiting Professor at the Katholieke Universiteit Leuven in 1972 and 2006. In 1956, he was appointed to a lectureship at the University of Auckland, New Zealand and returned to a position in his old University of Melbourne in 1959.A man of wide and deep interests, Max worked in the fields of Bioethics and Anthropology, as well as in Philosophy. He was a visiting Professor at the Maison d .. (shrink)

Benatar has a principle of asymmetry, i.e. that coming into existence as a human being is coming into a world in which harm is more likely than well-being. This is Thesis 1. Thesis 2 is that thesis 1 entails that one should not procreate. The threat of the end of civilization and the extinction of humanity by climate change renders ‘do not procreate’ a notion no longer counter-intuitive. Thesis 3 concerns ‘population and extinction’: he envisages ‘population zero’ as a desirable (...) consequence of thesis 2 even though ‘The last generation to die out would bear heavy burdens’. Benatar writes, ‘It would indeed have been better if no people had been added to the Edenic Lives of Adam and Eve’. The Blue Bird by Maurice Maeterlinck one hated. Benatar cites two schools of thought in the Talmud—the House of Hillel who thought the creation of humans was good and the House of Shammi thought it bad. Christians following Aquinas’ omne ens est bonum may find some Jewish notions quite the opposite of a Christian conviction, that, to be, is simply good. (shrink)

A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in (...) question, and Kant’s aesthetic which involves ‘the free play of the cognitive faculties’. In ths tension lies the particular pleasure of Steele’s poetry. (shrink)

The paper concludes the argument that certain aesthetic objects conduce to a feeling of radical contingency, and to an openness to St Thomas's Third Way proof for the existence of God. Much is conceded to the late Mr Gershon Weiler's criticism of an earlier discussion. The upshot is (a) that Necessary Being as converse of radical contingency may be an Aesthetic Idea/Sublime of Kant's kind, and (b) that without the ‘I AM that I am’, it is empty. The ‘inference’ from (...) radical contingency to Necessary Being may function as George Eliot thought Wit to function, intellectually/aesthetically. (shrink)

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

The Theological Consequence is of a more scandalous nature for Catholic ‘insiders’—the literate laity etc.etc.—than is the ‘mere’ ‘Humanist’ one. The pair together can to ‘Evangalisation’ no good at all.The Eminence, who on the BBC programme looks slightly comic. is, when one reflects a very disquieting figure indeed. So: A squib is comic: a serious one is, serious.Note the ‘BBC Panorama’ presentations have been seen in Australia, and so, possibly, in other countries in which this Journal is read.

It is not the case that God is interestingly like the unavailable transcendental signified in being unavailable. God always was absconded. The signified may not even really have gone away at all. And if it has, it is not God; it is only like Him in having gone away. And it has gone away, if it has, in a different mode of ‘going away’.To use a Turneresque metaphor: God is and will always be another, far, range behind the misty-but-glittering and (...) absconded signifieds, which leave only the trace which is the play of signifiers in the immediate foreground.One is free to attend to whichever range one wishes, or one may attend only to the foreground. But the dazzlingsublime 12 of the foreground, “That change of cloud and light, never-ending and agitating itself into kaleidoscopic patterns, the play of signifiers”, is—and never could be—quite like the “sublime” of the far, far range whose Inhabitant is said to be, “From everlasting to everlasting”. His “play” is said to be not of signifiers, butof all there is; it is notsemiological butontological. And He is altogether beyond the sublime, for with Him, or with the Beatific Vision of Her,there would be no critical problem left.The Logos is not a signifier. (shrink)

This paper explores the extreme but well-argued-for thesis that the indirect object of an aesthetic experience of serious art is the human soul of the person having the experience. The author of the thesis was Fr. Arthur Little S.J. a mid twentieth-century Irishman, professional philosopher and philosophical popularizer. The paper treats Little’s thesis seriously: comparisons are drawn with Kant, which may be of interest even to those hostile to Little’s central assertion. Little makes a brilliant analysis of a ‘free-beauty’, making (...) the sharpest contrast between this and the most serious art, tragedy. Tragedy, Little holds Kant not able to cope with. One agrees. (shrink)