Seeking to provide a richer alternative to both the contemporary cult of beauty and appearance and the concomitant decline of real beauty, this book offers a systematic treatment of the relationship between beauty and the good by drawing from ancient (e.g., Plato, Aristotle, and others) and medieval (e.g., Aquinas, Bonaventure, Hugh of St. Victor, and others) thought in such a way as to bring together scholars in these traditions.

Nishida analyses the relations of the ethical and aesthetic areas of life not in terms of types of concept or object but in terms of two types of consciousness. He holds that aesthetic and moral consciousness are radically different in kind, and both different from religious consciousness. Moral consciousness is the most superficial of the three, since it presupposes a duality not present in reality itself. Aesthetic consciousness has a tendency to unity, but is intermittent.

This book tells a compelling story about love, friendship, and the Divine that took over a thousand years to unfold. It argues that mind and feeling are intrinsically connected in the thought of Plato, Aristotle, and Plotinus; that Aristotle developed his theology and physics primarily from Plato’s Symposium (from the “Greater” and “Lesser Mysteries” of Diotima-Socrates’ speech); and that the Beautiful and the Good are not coincident classes, but irreducible Forms, and the loving ascent of the Symposium must (...) be interpreted in the light of the Republic, as the later tradition up to Ficino saw. Against the view that Platonism is an escape from the ambiguities of ordinary experience or opposed to loving individuals for their own sakes, this book argues that Plato dramatizes the ambiguities of ordinary experience, confronts the possibility of failure, and bequeaths erotic models for the loving of individuals to later thought. Finally, it examines the Platonic-Aristotelian heritage on the Divine to discover whether God can love us back, and situates the dramatic development of this legacy in Plotinus, Iamblichus, Proclus, and Dionysius the Areopagite. (shrink)

The examination of the transcendentals of truth, beauty and the good in this work stems from the perspective of Christian humanism, moral psychology and perfecting ourselves. From such a point of departure the book engages in the philosophy of culture and religion while drawing upon ritual, works of high and especially popular culture.

THIS ESSAY EXAMINES INNER-CITY NEIGHBORHOOD MURALISM TO ILLUMINATE the practical relationship between theological aesthetics and the ethical principle of the common good. I suggest collaborative public art as a viable resource for reframing or revisioning the common good in a way that counters its often conceptual, abstract, and pragmatic tendencies with an organic, selfcritical, and creative relationality that arises from the mutually dependent transcendental categories of the beautiful, the true, and the good. Ethical reflection on this (...) public art exposes the mystagogical components of the common good, which foster the often-overlooked intuitive, experiential, tactile, and nonverbal potential of this central idea in Christian ethics. (shrink)

Maimonides expresses the view that being is goodness; evil is a deprivation of being and goodness. This view is prominent in Neoplatonism but has strong roots in Aristotle as well. While Maimonides problematizes moral language of good and evil, he makes use of an ontological sense of Necessary Existence as the absolute good. Plotinus wrote that beings are the beautiful. Avicenna adds that the pure good is Necessary Existence, which is free of deficiency, as it has (...) no possibility of lacking existence. This notion has a strong Aristotelian core. Despite his strictures on language about the divine, Maimonides allows himself to express this vision—an affective-aesthetic appreciation as well as a purely cognitive one. Being is the absolute good, the source of ontological beauty and value. (shrink)

Beauty and the End of Art shows how a resurgence of interest in beauty and a sense of ending in Western art are challenging us to rethink art, beauty and their relationship. By arguing that Wittgenstein's later work and contemporary theory of perception offer just what we need for a unified approach to art and beauty, Sonia Sedivy provides new answers to these contemporary challenges. These new accounts also provide support for the Wittgensteinian realism and theory of perception that make (...) them possible. -/- Wittgenstein's subtle form of realism explains artworks in terms of norm governed practices that have their own varied constitutive norms and values. Wittgensteinian realism also suggests that diverse beauties become available and compelling in different cultural eras and bring a shared 'higher-order' value into view. With this framework in place, Sedivy argues that perception is a form of engagement with the world that draws on our conceptual capacities. This approach explains how perceptual experience and the perceptible presence of the world are of value, helping to account for the diversity of beauties that are available in different historical contexts and why the many faces of beauty allow us to experience the value of the world's perceptible presence. -/- Carefully examining contemporary debates about art, aesthetics and perception, Beauty and the End of Art presents an original approach. Insights from such diverse thinkers as Immanuel Kant, Hans-Georg Gadamer and Arthur Danto, Alexander Nehamas, Elaine Scarry and Dave Hickey are woven together to reveal how they make good sense if we bring contemporary theory of perception and Wittgensteinian realism into the conversation. (shrink)

Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative (...) adjectives, associated gradable adjectives, mass nouns, and predicate negations—all with a semantics that demand a privative scale of value. It is shown how it is perfectly possible to interpret value terms Platonically over privative Boolean algebras so that beautifuland good diverge while at higher levels other value terms are coextensional. Considerations are offered that this structure conforms to actual usage. (shrink)

This paper examines three accounts of the sleeping beauty case: an account proposed by Adam Elga, an account proposed by David Lewis, and a third account defended in this paper. It provides two reasons for preferring the third account. First, this account does a good job of capturing the temporal continuity of our beliefs, while the accounts favored by Elga and Lewis do not. Second, Elga’s and Lewis’ treatments of the sleeping beauty case lead to highly counterintuitive consequences. The (...) proposed account also leads to counterintuitive consequences, but they’re not as bad as those of Elga’s account, and no worse than those of Lewis’ account. (shrink)

In the Platonic dialogues, the enigmatic concept of the good tends to retreat at those very moments when it is supposed to show itself. This paper examines the relation between the beautiful and the good as the good takes refuge in the beautiful. Hans-Georg Gadamer holds a particular interest in these retreats since they show that there is actually an emphasis on appearances and the human good in Plato. In contrast, Emmanuel Levinas is critical (...) of the primacy of vision and the beautiful from an ethical perspective. The relevant passages in the dialogues will be interpreted with respect to this divergence. (shrink)

AbstractPlato’s analogy of the ladder in the Symposium involves an inquiry into the love of beauty that pertains to a spiritual phenomenology of love. It is reconsidered in this discussion from both an aesthetic and teleological perspectives, and thus construed as a process of philosophical learning and virtuous cultivation. In the final analysis, this paper argues that it is intended to direct the love of beauty along with wisdom as virtue towards the Platonic ideal of human fulfillment and true happiness (...) for the good life qua its ultimate telos. On this account, both the value of knowledge and the cultivation of personality are emphasized for inter-connected reasons, and meanwhile a pragmatic stance is proposed on the kinds-of-life option in the light of the kinds-of-wisdom stratification. (shrink)

In the Critique of the Power of Judgment, Kant claims that “the beautiful is the symbol of the morally good.” In this article I offer an interpretation of this claim. According to Kant’s conception of a symbol, the form of judgment operative in judgments of beauty can also be applied to morality. This parallel application highlights that we are directed at an end which cannot be determined by theoretical cognition. I argue that beauty’s symbolism of morality depends upon (...) the solution to the Antinomy of Taste, and Kant’s conclusion that judgments of taste are grounded in the concept of the supersensible. Such an interpretation renders intelligible Kant’s remark that judgment makes possible a transition from nature to morality. Namely, beauty demonstrates to us nature’s openness to transcendence, and thus is a symbol, a making-sensible of our own transcendence and practical determination of nature. (shrink)

Three of the great sources of meaning in life are the good, the true, and the beautiful, and I aim to make headway on the grand Enlightenment project of ascertaining what, if anything, they have in common. Concretely, if we take a (stereotypical) Mother Teresa, Mandela, Darwin, Einstein, Dostoyevsky, and Picasso, what might they share that makes it apt to deem their lives to have truly mattered? I provide reason to doubt two influential answers, noting a common flaw (...) that supernaturalism and consequentialism share. I instead develop their most plausible rival, a naturalist and non-consequentialist account of what enables moral achievement, intellectual reflection, and aesthetic creation to confer great meaning on a person's life, namely, the idea that they do so insofar as a person transcends an aspect of herself in some substantial way. I criticize several self-transcendence theories that contemporary philosophers have advanced, before presenting a new self-transcendence view and defending it as the most promising. (shrink)

The Good, the Bad, and the Beautiful Discourse about Values in Yoruba Culture Barry Hallen Reveals everyday language as the key to understanding morals and ethics in Yoruba culture. "This contrasts with any suggestion that in Yoruba or, more generally, African society, moral thinking manifests nothing much more than a supine acquiescence in long established communal values.... Hallen renders a great service to African philosophy." —Kwasi Wiredu In Yoruba culture, morality and moral values are intimately linked to aesthetics. (...) The purest expression of beauty, at least for human beings, is to possess good moral character. But how is moral character judged? How do actions, and especially words, reveal good moral character in a culture that is still significantly based on oral tradition? In this original and intimate look at Yoruba culture, Barry Hallen asks the Yoruba onisegun—the wisest and most accomplished herbalists or traditional healers, individuals justly reputed to be well versed in Yoruba thought and expression—what it means to be good and beautiful. Posed as an outsider wanting to gain understanding of how to speak Yoruba correctly, Hallen engages the onisegun and has them explain the subtleties and intricacies of Yoruba language use and the philosophy behind particular word choices. Their instructions reveal a striking and profound depiction of Yoruba aesthetic and ethical thought. The detailed interpretations of everyday language that Hallen supplies challenge prevailing Western views that African thought is nothing more than acquiescence to long-established religious or communal values. The philosophy of ordinary language reveals that moral reflection is indeed individual and that evaluations of action and character take place on the basis of clearly and logically delineated criteria. With the onisegun as his guides, Hallen identifies the priorities of Yoruba philosophy and culture through everyday expression and shows that there are rational pathways to both truth and beauty. Barry Hallen has taught philosophy at the Obafemi Awolowo University in Nigeria. He is a Fellow at the W. E. B. DuBois Institute for Afro-American Research at Harvard University and Visiting Professor of Philosophy at Morehouse College. He is coauthor of Knowledge, Belief, and Witchcraft: Analytic Experiments in African Philosophy. Contents Ordinary Language and African Philosophy Moral Epistemology Me, My Self, and My Destiny The Good and the Bad The Beautiful Rationality, Individuality, Secularity, and the Proverbial Appendix of Yoruba-Language Quotations Glossary of Yoruba Terms. (shrink)

I call into question a pair of closely related assumptions that are almost universally shared in the literature on predicates of taste. The assumptions are, first, that predicates of taste – words like ‘tasty’ – are semantically evaluative. In other words, that it is part of the meaning of a word like ‘tasty’ to describe an object as in some sense good, or to say that it is pleasing. And second, that the meaning of predicates of taste is in (...) some way relativized to an experiencer or standard – the person that the object is pleasing to or the standard according to which the object is good. Parties to the literature on these terms tend to disagree about the role of context in determining the truth of claims involving predicates of taste, or in determining which proposition is expressed. But they agree that to call some dish ‘tasty’ is to say something positive about that dish, to suggest that someone or other finds, or is disposed to find, the dish pleasing. I suggest instead that ‘tasty’, and indeed... (shrink)

There is a good chance that “each critic becomes a Pygmalion” (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses “traditional” aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the (...) two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste. (shrink)

Introduction -- The form of happiness -- Affirmation -- Beauty is everywhere -- Love of life -- Fundamental OK -- The uniqueness of each moment -- Taste -- Spontaneity -- The reality of reality -- Healing -- Beauty cures -- Creative expression -- Nature and music -- The invisible ally -- The heart of beauty -- Sharing -- The beauty of the soul -- Good and beautiful -- Aesthetics and biology -- Knowledge -- Mind and beauty -- Revelation (...) -- Hidden resonance -- Trascendence -- Self, nature, and society -- Abuse vs. awe -- Beauty is the opposite of war. (shrink)

The computer has increasingly become the principal model for the mind, which means our most basic experience of ""reality"" is as mediated through a screen, or stored in a cloud. As a result, we are losing a sense of the concrete and imposing presence of the real, and the fundamental claim it makes on us, a claim that Iris Murdoch once described as the essence of love. In response to this postmodern predicament, the present book aims to draw on the (...) classical philosophical tradition in order to articulate a robust philosophical anthropology, and a new appreciation of the importance of the ""transcendental properties"" of being: beauty, goodness, and truth. The book begins with a reflection on the importance of metaphysics in our contemporary setting, and then presents the human person's relation to the world under the signs of the transcendentals: beauty is the gracious invitation into reality, goodness is the self-gift of freedom in response to this invitation, and truth is the consummation of our relation to the real in knowledge. The book culminates in an argument for why love is ultimately a matter of being, and why metaphysical reason in indispensable in faith. ""Philosopher D. C. Schindler defies the dragon of modernity, whose dominant thought patterns induce a life- and culture-threatening loss of reality and self. He offers life-giving proposals regarding love, being, and the transcendentals to restore us profoundly to the world and to ourselves as humans. Buy the book--you may divest yourself of others. Digest it, and revel in your already-involvement with a responsive reality--an involvement of intimate encounter and communion; a reality that is love, fraught with beauty, goodness, and truth."" --Esther Lightcap Meek, Geneva College ""Love and the Postmodern Predicament is a treasure trove of philosophical riches. Schindler does not merely indicate the need to return to metaphysics to wrestle successfully with what he carefully and accurately describes as our postmodern predicament, but in fact leads us out of that predicament. His profound and original reflections on love, grounded in the transcendental properties of being, are a radical refashioning of traditional metaphysical principles."" --Jonathan J. Sanford, University of Dallas ""In this rewarding little text, Schindler accomplishes something too rare among works of philosophy: he accommodates a wide audience and yet deftly draws the reader into deep metaphysical waters, into a consideration of some of the most profound and perennial philosophical concerns. Throughout, the timeliness of his reflections on love, beauty, God, and the good remains in clear view. This is a highly recommended work by an author of capacious intellect and generous spirit."" --Lee M. Cole, Hillsdale College D. C. Schindler is Associate Professor of Metaphysics and Anthropology at The John Paul II Institute at The Catholic University of America. He is the author of The Perfection of Freedom: Schiller, Schelling, and Hegel between the Ancients and the Moderns (2013). (shrink)

Some critics have claimed that Spinoza's philosophy has nothing to offer aesthetics. I argue that within his conception of an ars vivendi one can discern a nascent theory of art. I bring the figure of the prophet in relation to that of the artist and, alongside a consideration of Spinoza's views on goodness and beauty, show that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.

One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and (...) morally bad. While the realist can explain the difference by suggesting that each judgment makes reference to a different property (or set of properties), the expressivist cannot. She must show that what is expressed by the speaker is different in each case. This has proven to be difficult to do. (shrink)

This paper offers a philosophical argument for the “fittingness” of the unusual order in which Hans Urs von Balthasar’s Trilogy articulates the transcendentalproperties of being: first beauty, then goodness, then truth. It begins with a presentation of the order Aquinas gives in De veritate, qu. 1, art. 1, in which truthfollows upon being and then goodness follows upon truth insofar as cognition for Aquinas precedes desire. The paper then explains the significance of the primacy Balthasar gives to beauty, in contrast (...) to Aquinas, and how this primacy entails an interpretation of truth as the final fruit of the soul’s engagement with reality under the aspect of goodness. It is precisely the conception of truth that emerges as the final transcendental, rather than the first, that serves to open the human horizon to biblical theology, which is one of the ultimate aims of the Trilogy. (shrink)

In the Timaeus Plato describes the world as the ‘most beautiful’ of generated things. Perhaps indeed this is the first systematic description of the beauty of the world. It is, at any rate, one of the most influential statements of the theme. The Stoics were deeply convinced by it and later, in the third century A.D., at a time when contempt and hate for the world were propagated by Gnostic movements, Plotinus, interpreting the Timaeus, would write magnificent passages on (...) the beauty and value of the world. But what does Plato mean by the ‘beauty’ of the world? What makes the world beautiful? In this paper these questions are approached first by a brief discussion of the distinction which Plato appears to make in the Timaeus between beauty and the good. In one passage ‘measure’ seems to relate to this distinction. It is suitable then to look at a section of another late work of Plato, the Philebus, where the themes of beauty, goodness and measure may be compared in more detail. The theme of measure then takes us back to the Timaeus, in order to examine the role played by measure, in particular mathematical measure, in constituting the beauty of the world. I discuss in detail the way in which mathematical structures make for the beauty of soul and body in the living whole that is the world. (shrink)

In this fascinating and bold discussion, a renowned neurobiologist serves as guide to the most complex physical object in the living world: the human brain. Taking into account the newest brain research—morphological, physiological, chemical, genetic—and placing these findings in the context of psychology, philosophy, art, and literature, Changeux ventures into the unexplored territories where these diverse disciplines intersect. Changeux's book draws on Plato's notion that the Good, the True, and the Beautiful are celestial essences or ideas, independent but (...) so intertwined as to be inseparable. Placing these essences within the characteristic features of the human brain's neuronal organization, the author addresses unsolved questions in neuroscience today. With imagination and deep insight, Changeux illuminates the evolution of the brain and deciphers what new developments in neuroscience may portend for the future of humanity. (shrink)

We have many histories of social theory-what different authors attempted to do as they responded to previous theories. But we know precious little about how they did this in structural terms-what scaffolding they adopted and adapted to make their claims. Yet today's social thoughts largely employ structures passed down from previous generations, structures that were developed to solve problems that are no longer ours. In The True, the Good, and the Beautiful, John Levi Martin explores these structures, the (...) resulting tensions, and their broader significance for sociological thought. By examining how thinkers mapped interpersonal to intrapersonal structures, he traces the development of the underlying architectonics of theory, focusing on one that was inherited from eighteenth-century philosophy and brought into social science in the nineteenth century. He shows that the structural tensions inherent in these theories paralleled those being worked out in practical terms by constitutional theorists as thinkers attempted to return to their most fundamental understandings of the nature of the human, the social, and the political to recraft their societies. A magisterial new interpretation of the foundations of sociological thought, The True, the Good, and the Beautiful is as ambitious a work of social theory as we have seen in generations. (shrink)

Ours is an age full of desires but impoverished in its understanding of where those desires lead—an age that claims mastery over the world but also claims to find the world as a whole absurd or unintelligible. In The Vision of the Soul, James Matthew Wilson seeks to conserve the great insights of the western tradition by giving us a new account of them responsive to modern discontents. The western— or Christian Platonist—tradition, he argues, tells us that man is an (...) intellectual animal, born to pursue the good, to know the true, and to contemplate all things in beauty. Wilson begins by reconceiving the intellectual conservatism born of Edmund Burke’s jeremiad against the French Revolution as an effort to preserve the West’s vision of man and the cosmos as ordered by and to beauty. After defining the achievement of that vision and its tradition, Wilson offers an extended study of the nature of beauty and the role of the fine arts in shaping a culture but above all in opening the human intellect to the perception of the form of reality. Through close studies of Theodor W. Adorno and Jacques Maritain, he recovers the classical vision of beauty as a revelation of truth and being. Finally, he revisits the ancient distinction between reason and story-telling, between mythos and logos, in order to rejoin the two. Story-telling is foundational to the forms of the fine arts, but it is no less foundational to human reason. Human life in turn constitutes a specific kind of form—a story form. The ancient conception of human life as a pilgrimage to beauty itself is one that we can fully embrace only if we see the essential correlation between reason and story and the essential convertibility of truth, goodness and beauty in beauty. By turns a study in fundamental ontology, aesthetics, and political philosophy, Wilson’s book invites its readers to a renewal of the West’s intellectual tradition. (shrink)

The ideology about the relation between goodness and beauty for Confucius and the early Confucians is the continuation of the aesthetic tradition long before Confucius’s time, which sees more value in Yuejiao, namely, music/beauty education, than in Lijiao, Moral education. No doubt Confucius’s aesthetic idea is featured as the juxtaposition of Li and Yue, goodness and beauty. But we must not forget that Confucius, taking himself as a preserver of the sages’ tradition, personally values Yue (music/beauty) over Li (ritual/moral). It (...) is in this context that we argue that taking the unity of beauty and goodness as a Confucian aesthetic feature is a misinterpretation of his teaching and is poles apart from the ancient Chinese aesthetic tradition and from Confucius’ aesthetics. (shrink)

Some recent discussions of A. N. Whitehead's treatment of the problem of value have stressed the point that his work in this field is open to serious objection. For example, Professor John Goheen claims that Whitehead's attempt to indicate distinguishing characteristics of experience of “the Good”, is too general to be adequate. He also suggests that this generality of approach makes it impossible for Whitehead to differentiate between different species of value. Further, according to Goheen, Whitehead involves himself in (...) confusion when he claims that satisfaction is achieved when experience is characterized by order ; and yet he also suggests that in some cases, the presence of disorder makes possible a higher type of satisfaction. Professor P. A. Schilpp agrees with Goheen in feeling that Whitehead's explanation of the good life in terms of “pattern” is too vague. In Schilpp's opinion, Whitehead does not answer the basic question: “What kind of pattern?” There is a further objection to Whitehead's “theory of the close connection between morality and beauty,” because at times it looks like an actual identification. Schilpp also objects to what appears to be Whitehead's identification of “good” with “interest”. Finally, it is claimed by Schilpp that Whitehead subordinates goodness to beauty. This interpretation is apparently supported by Prof. George Morgan who states: “Truth and moral values are instrumental except in so far as they enhance beauty.” Professor B. Morris objects to Whitehead's attempt to apply the mathematical method to aesthetic experience. He suggests that the method of symbolic logic is too abstract to deal adequately with concrete aesthetic data. Professor J. W. Blyth, as the result of his examination of Whitehead's theory of truth, reaches the conclusion that “the various elements involved in Whitehead's theory of truth cannot be brought together in one coherent and consistent system. (shrink)

Numbers. Natural numbers -- Integers -- Real numbers -- Irrational and transcendental numbers -- Funny numbers. Zero -- e : the unnatural natural number -- [Phi] : the golden ratio -- i : the imaginary number -- Writing numbers. Roman numerals -- Egyptian fractions -- Continued fractions -- Logic. Mr. Spock is not logical -- Proofs, truth, and trees : oh my! -- Programming with logic -- Temporal reasoning -- Sets. Cantor's diagonalization : infinity isn't just infinity -- Axiomatic set (...) theory : keep the good, dump the bad -- Models : using sets as the LEGOs of the math world -- Transfinite numbers : counting and ordering infinite sets -- Group theory : finding symmetries with sets -- Mechanical math. Finite state machines : simplicity goes far -- The turing machine -- Pathology and the heart of computing -- Calculus : no, not that calculus- [lambda] calculus -- Numbers, booleans, and recursion -- Types, types, types : modeling [lambda] calculus -- The halting problem. (shrink)

Discussions of value play a central role in contemporary philosophy. This book considers the role of values in truth seeking, in morality, in aesthetics and also in the spiritual life. We have got beyond the simplistic view that values are simply expressions of feeling, but their precise ontological and epistemological status remains controversial. The essays in this book indicate in an accessible way the state of the discussion as it is at the end of the second millennium. The distinguished contributors (...) include Simon Blackburn, Jonathan Dancy, Paul Horwich, John Leslie, Timothy Sprigge, David Wiggins and others who have made significant contributions in this field. (shrink)

This article analyses Eric Rohmer’s film theory in the light of the Platonic triad of truth, beauty and goodness, as embodied by the aesthetic philosophy of Kant, Hegel and Schiller. Although his film theory shows affinity with Kant’s ideal of art as a form of natural beauty, I will argue that a broader look at Rohmer’s philosophical foundations is necessary. The point where Rohmer’s film theory deviates from Kant’s triadic philosophy is exactly the point where he approaches the aesthetics of (...) Hegel and Schiller. Turning towards their idealistic philosophy creates a new understanding of Rohmer’s film theory. His ideas on cinema’s ontology and value mirror both Hegel’s emphasis on beauty as the artistic and immediate manifestation of trans-historical truth and Schiller’s belief in beauty as the condition for morality and freedom. Plato’s conceptual and intertwined triad of truth, beauty and goodness lies at the basis of his affinity to 18th century aesthetic philosophy. This close affinity raises the question of the relation between film theory and philosophy, and Rohmer’s position in this debate. He enriches his own thoughts with those of philosophers that inspired him, and enriches their legacy with his cinema-related conclusions. (shrink)

Contemporary philosophical attitudes toward beauty are hard to reconcile with its importance in the history of philosophy. Philosophers used to allow it a starring role in their theories of autonomy, morality, or the good life. But today, if beauty is discussed at all, it is often explicitly denied any such importance. This is due, in part, to the thought that beauty is the object of “disinterested pleasure”. In this paper I clarify the notion of disinterest and develop two general (...) strategies for resisting the emphasis on it, in the hopes of getting a clearer view of beauty’s significance. I present and discuss several literary depictions of the encounter with beauty that motivate both strategies. These depictions illustrate the ways in which aesthetic experience can be personally transformative. I argue that they present difficulties for disinterest theories and suggest we abandon the concept of disinterest to focus instead on the special kind of interest beauty fuels. I propose a closer look at the Platonic thought that beauty is the object of love. (shrink)

within western philosophy, there is a long and rich tradition of treating the beautiful and the good as closely related and mutually reinforcing.1 Different models of the relation have been proposed. An ‘identity’ model can be seen in Plato’s identification of the beautiful and the good in the Symposium and perhaps in the Greek notion of kalokagathia.2 Yet, according to Plato’s Republic, the form of the good illuminates, and differs from, the forms of beauty and (...) truth: “both knowledge and truth are beautiful things, but the good is other and more beautiful than they,”3 suggesting that beauty is a mode of the good. Likewise, according to Plotinus’s chronologically first treatise, “On... (shrink)

In § 60 of the Critique of Judgment, entitled ‘On the doctrine of method of taste,’ Kant suggests that the study of so-called humaniora (ancient Roman and Greek literature) will help one to become a good artist. I will argue that a proper, namely emotional, engagement with humaniora will further the two components of humanity in ourselves: the feeling of sympathy and the ability to communicate feelings. I will discuss two options of how a strengthening of these two components (...) might contribute to the creation of good artworks: it will help one to create artworks that arouse the universal communicable pleasure in the beautiful, or it will help one to create artworks that arouse sympathetic feelings. Siding with the latter option, I will argue that emotions can contribute to the enlivening of aesthetic ideas and, thus, to good art. (shrink)

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

In Finite and Infinite Goods, Robert Adams brings back a strongly Platonistic form of the metaphysics of value. I applaud most of the theory’s main features: the primacy of the good; the idea that the excellent is more central than the desirable, the derivative status of well-being, the transcendence of the good, the idea that excellence is resemblance to God, the importance of such non-moral goods as beauty, the particularity of persons and their ways of imitating God, and (...) the use of direct reference theory in understanding how “good” functions semantically. All of these features I wholeheartedly endorse and use in different ways in my own theory. Throughout his book Adams is generous to competing points of view, and his thoroughness and attention to detail make his presentation persuasive without the defensive quality of so much philosophical polemic. With this book, Christian neoplatonism has emerged in a sophisticated contemporary form. (shrink)