Many modes of religious expression and experience have a markedly aesthetic component, even though aesthetic delight itself often appears to be free of moral or religious interests. In this ground-breaking work, Frank Burch Brown shows how aesthetics, no less than ethics, can play a central role in the study of religion and in the practice of theology.

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 2017 Heft: 1 Seiten: 145-174.

This paper discusses the notion of disimagination a translation of the German word Entbildung, which was devised by Meister Eckhart as a reinterpretation of the Neoplatonic categories of abstraction (aphairesis) and negation (apophasis) in connection with Nishitani Keiji's standpoint of emptiness. Nishitani proposes a nonsubjective, nonrepresentational, and nonconceptual type of knowledge to avoid the problem of representation implied in the modern subjective self-consciousness that prevents our access to the reality of things. It is argued that what he calls a knowing (...) of non-knowing can be understood as a transposition of the problematics of aphairesis to a new context, that of the formless form. The ontology of images in the creative process, both cosmic and artistic, is examined from Nishitani's identification of likeness and suchness on the field of emptiness. It is suggested that the resulting denial of the traditional distinction between being and appearance approaches a critique closer to postfoundational metaphysics and, like disimagination, aims at an ascetic movement of self-negation and detachment from words and images that leads, in turn, to a creative and playful use of language free of representation. (shrink)

This paper discusses the notion of disimagination a translation of the German word Entbildung, which was devised by Meister Eckhart as a reinterpretation of the Neoplatonic categories of abstraction (aphairesis) and negation (apophasis)in connection with Nishitani Keiji's standpoint of emptiness. Nishitani proposes a nonsubjective, nonrepresentational, and nonconceptual type of knowledge to avoid the problem of representation implied in the modern subjective self-consciousness that prevents our access to the reality of things. It is argued that what he calls a knowing of (...) non-knowing can be understood as a transposition of the problematics of aphairesis to a new context, that of the formless form. The ontology of images in the creative process, both cosmic and artistic, is examined from Nishitani's identification of likeness and suchness on the field of emptiness. It is suggested that the resulting denial of the traditional distinction between being and appearance approaches a critique closer to postfoundational metaphysics and, like disimagination, aims at an ascetic movement of self-negation and detachment from words and images that leads, in turn, to a creative and playful use of language free of representation. (shrink)

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud (to whom reference was made in the course on aesthetics) between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. (...) As very little is known of Wittgenstein's views on these subjects from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his Tractatus and Philosophical Investigations a little formidable. (shrink)

This essay examines the particular contributions of three communities of women religious for the ways in which they incorporated concerns for the moral formation of their students together with a focus on beauty. These communities not only provided a basic “Catholic moral education” but also aimed to develop persons who saw their responsibility as building a better world that was not only good but also beautiful. Given recent attention to the relationship between ethics and aesthetics, this essay shows (...) how the work of women religious makes a significant contribution to this field. (shrink)

This is a tricentennial riff on the Edwardsean idea that beauty is both the first principle of being and the distinguishing perfection of God. What is really distinctive about Edwards's view of beauty is that it is an ontological reality and consists in joyfully bestowing being and beauty more than in being beautiful, in creative and beautifying activity more than in being beautiful. Edwards was also a pioneer in the way he envisaged a lively universe created by God, not out (...) of nothing or out of something, but out of the very fullness of God's own life overflowing into a world as a self-enlargement of the divine life. Edwards dares to offer a vision of God as the animating soul of the universe who governs the universe by the attractive and creative power of God's own beautifying life. What might it mean for religious ethics to take this as a description of the context for its work? The answer, in part and in brief, is that a life of true virtue, grounded in the heartfelt piety of holy affections, is a beautifying life. My aim in spinning out some Edwardsean themes is to encourage the reader to think about religious ethics outside the box within which beauty and beautifying activity play no part in defining the agenda of religious ethics. Inspired by themes unique and central to Edwards in his time, we may learn things of importance to religious ethics in our time that Edwards neither knew nor believed. (shrink)

In this paper I intend to show that the differences between the aesthetic experience and the religious experience do not “close” the dialogue between the aesthetic man and the religious man. Although these two types of experience are distinguished by “the way in which everyone understands its object” —there is a similarity between aesthetic experience and religious experience which resides in the fact that “towards their object, both are in an attitude of contemplation”.

Jonathan Edwards and Ralph Waldo Emerson remain central voices in North American spiritual traditions. This article is an attempt to contextualize a major vein of the north American theological and spiritual tradition concerning the intersection of aesthetics and the human experience of God. As will be argued below, both Edwards and Emerson were deeply involved in these conversations and to a large extent offer novel approaches to the tensions between the individual and community as it relates to the experience (...) of God. To that end, this essay begins with an analysis of Edwards's view of religious experience and its normative relation to human experience as a whole. I will argue that... (shrink)

William James catalogued an amazing diversity of religious experiences. Yet even the pluralistic James was able to find a nucleus, consisting of an uneasiness and its solution, ‘1. The uneasiness, reduced to its simplest terms, is a sense that there is something wrong about us as we naturally stand. 2. The solution is a sense that we are saved from the wrongness by making proper connection with the higher powers.’ But by stressing the moral factor, James seems to exclude (...) those who stress rather the sense of mystery stemming from man's theoretical limitations. Einstein, for example, writes: ‘The most beautiful thing we can experience is the mysterious side of life. It is the deep feeling which is at the cradle of all true art and science. In this sense, and only in this sense, I count myself amongst the most deeply religious people.’ For Einstein as for Pascal : ‘The last proceeding of reason is to recognise that there is an infinity of things which are beyond it.’ Thus I propose the following revision of James' conception of the nucleus of the religious experience: uneasy awareness of the limitations of man's moral or theoretical powers, especially when reality is restricted to sense data and natural objects; awe-full awareness of a further reality—beyond or behind or within; conviction that participation with this further reality is of supreme importance. (shrink)

This article explores John's Muir's writings in order to construct a Muirian environmental aesthetics. To this end, I draw out three key features. First is the aesthetic category of sublimity as it emerges in his explorations of Yosemite. Second, a distinctive, pluralistic environmental aesthetics is found through his interweaving of aesthetic, religious, and scientific ideas. Third, his journals from the Thousand‐Mile Walk reveal an active and situated aesthetics, shaped by his practice of exploring and communing with (...) nature. Together, these features support a perspective that is quite contemporary, in tune with environmental and everyday aesthetics, as well as with recent work in environmental ethics. (shrink)

Ecological Prospects addresses pressing issues that will shape ecological awareness and activism into the next century. From a variety of perspectives, the book explores topics such as how ecological insight can serve as a management model for appropriate economic development, the possible categories that can be used to determine land use priorities, working models for environmental activism, potential paradigms for spiritually attuned environmentalism, and the role of aesthetic appreciation in the development of one's sensitivity to the environment.

Cultural factors are operating in the aesthetic experience of pictorial realism, occurring in a transcultural manner, and their effects are salient in beholder’s affective reaction correlated with perceptual-cognitive operation. This paper aims to demonstrate this hypothesis, by developing two analytical tools that might explain the anti-hedonic valence of Hong Taeyong, an eighteenth-century Korean literatus’ aesthetic experience of a Western religious fresco depicting the Lamentation of Christ in a Jesuit Catholic church in Beijing. First, a complex multifold conflict between «actual (...) affect» and culturally modeled «ideal affect», operating simultaneously in his visual experience, might be translated into a highly negative valence of his global affective state. Second, the variance of processing fluencies at different levels would have made his global processing operation less fluid, and it might play a role in his negative affective valence, since the affect is inherent in processing fluency signal. (shrink)

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As very little is known of Wittgenstein's views on these subjects (...) from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his _Tractatus_ and _Philosophical Investigations_ a little formidable. (shrink)

A semi-popular defense of the objective validity and cognitive truth of moral, aesthetic and religious insight. The author describes Kant's method of defending "scientific insight" in the first Critique and attempts to apply this method to the other areas of experience more consistently and successfully than Kant did.--F. M. S.

In this article I reflect upon the problem of the aesthetic intelligibility of the world in connection with an aesthetic approach to religious naturalism. Taking the work of R.W. Hepburn as conversation partner, I bring it into relation to the work of Charles Peirce and Michael Polanyi. Admitting the ambiguous nature of their own religious commitments, I try to sketch, with no claim to completeness, how they help to illuminate just what would be entailed in beginning the process (...) of translating religious forms of attending into aesthetic forms and what would be gained and what would be lost in doing so. (shrink)

In this article I reflect upon the problem of the aesthetic intelligibility of the world in connection with an aesthetic approach to religious naturalism. Taking the work of R.W. Hepburn as conversation partner, I bring it into relation to the work of Charles Peirce and Michael Polanyi. Admitting the ambiguous nature of their own religious commitments, I try to sketch, with no claim to completeness, how they help to illuminate just what would be entailed in beginning the process (...) of translating religious forms of attending into aesthetic forms and what would be gained and what would be lost in doing so. (shrink)

The report brought to the section members’ notice issues consideration of the major tendencies of religious and aesthetic medium transformation laying the emphasis on the major factors of this transformation together with its socio-cultural basis. Based on the comparison of the processes taking place within Catholicism, Protestantism and Orthodoxy the report marks the concurrency of religious and aesthetic processes present within the named confessions which challenges the idea of absolute uniqueness of religious and aesthetic experience of the (...) orthodox in Russia nowadays. The syncretism in the first place and dialectical unity of fundamentalism and modernism in the second, can be considered as the leading tendencies of transformation of religious and aesthetic medium of modern Christianity. (shrink)

In this article I reflect upon the problem of the aesthetic intelligibility of the world in connection with an aesthetic approach to religious naturalism. Taking the work of R.W. Hepburn as conversation partner, I bring it into relation to the work of Charles Peirce and Michael Polanyi. Admitting the ambiguous nature of their own religious commitments, I try to sketch, with no claim to completeness, how they help to illuminate just what would be entailed in beginning the process (...) of translating religious forms of attending into aesthetic forms and what would be gained and what would be lost in doing so. (shrink)

The Seducer's Diary. By Søren Kierkegaard, edited and translated by Howard V. Hong and Edna Hong (Princeton: Princeton University Press, 1997) xv + 214 pp. $12.95, £9.95 paper. Christian Discourses: The Crisis and A Crisis in the Life of an Actress. By Søren Kierkegaard, edited and translated by Howard V. Hong and Edna Hong (Princeton: Princeton University Press, 1997) xvii + 489 pp. $55.00, £39.50 cloth. Without Authority. By Søren Kierkegaard, edited and translated by Howard V. Hong and Edna Hong (...) (Princeton: Princeton University Press, 1997) xix + 317 pp. $42.50, £35.00 cloth. (shrink)

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As very little is known of Wittgenstein's views on these subjects (...) from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his _Tractatus_ and _Philosophical Investigations_ a little formidable. (shrink)

"Good Taste, Bad Taste, and Christian Taste is essential reading for students and scholars of religion and theology, pastors and church-goers, liturgists, and church musicians and artists."--Jacket.

This paper attempts to investigate Kierkegaard’s thought through the category of mimesis. First, two meanings of the word are distinguished and analyzed: the archaic meaning that links it to the concept of re-enactment, and the traditional meaning that links it to the aesthetic field of art. These two meanings are then considered in relation to Kierkegaard’s opus, showing the oscillation of mimesis as corresponding to that between the aesthetic, which lives in fantasy and in the unfulfilled possibility, and the (...) class='Hi'>religious, which finds its identity in the imitation of Christ and in the transparent relationship to God. (shrink)

Soren Kierkegaard's Fear and Trembling is one of the most widely read works of Continental philosophy and the philosophy of religion. While several commentaries and critical editions exist, Jeffrey Hanson offers a distinctive approach to this crucial text. Hanson gives equal weight and attention to all three of Kierkegaard’s "problems," dealing with Fear and Trembling as part of the entire corpus of Kierkegaard's production and putting all parts into relation with each other. Additionally, he offers a distinctive analysis of the (...) Abraham story and other biblical texts, giving particular attention to questions of poetics, language, and philosophy, especially as each relates to the aesthetic, the ethical, and the religious. Presented in a thoughtful, well-informed, and fresh manner, Hanson’s claims are original and edifying. This new reading of Kierkegaard will stimulate fruitful dialogue on well-traveled philosophical ground. (shrink)

This article examines the stages of establishment of the philosophical and religious-aesthetic views the British writer, poet, teacher, scholar and theologian Clive Staples Lewis. The authors explore the biographical and historical material of the essay "Surprised by Joy", analyze the impact of sociopolitical, literary and social life of England in the early XX century upon C. S. Lewis’ philosophical and religious views. Special attention is given to the evolution of the writer’s perception of Joy, which transformed from the (...) childhood feeling of the joy of life through “approaching remoteness”, admiration with the beauty of nature, passion for occultism, fascination with literature, to the joy of genuine faith. The research is carried out via analyzing an extensive range of sources, including biographical, religious, philosophical works of C. S. Lewis, as well as memoirs of his contemporaries. The scientific novelty consists in systemic examination of the key landmarks in evolution of the spiritual world of the writer, his philosophic and theological views. The article reveals the influence of these stages upon further works of the writer, as well describes the factors of C. S. Lewis’ long path towards sincere and genuine faith. (shrink)