In Love with Art & Philosophy // Zwischen Kunst & Philosophie

2021 ◽  
pp. 161-184
Author(s):  
Susanne Valerie ◽  
Arno Böhler
Keyword(s):  
Author(s):  
Nicholas Wolterstorff

This chapter considers why contemporary analytic philosophers of religion have neglected liturgy and focused almost all of their attention on religious belief. Following Descartes, reflections on mental activity and the mind have been central in modern philosophy. But that has not prevented the emergence of philosophy of art, philosophy of language, and political philosophy, none of which deal with mental activity or the mind. So why not philosophy of liturgy? Several explanations are considered; but none is found to be fully satisfactory. The Introduction concludes with an explanation of how the subsequent discussion relates to liturgical theology and to anthropological ritual studies.


2013 ◽  
Vol 10 (1) ◽  
pp. 87-107
Author(s):  
RAJESH HEYNICKX

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch (1863–1944). Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory of Einfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed.


2015 ◽  
Vol 16 (SE) ◽  
pp. 161-170
Author(s):  
Ramin Keshavarz ◽  
Moheb Ali Absalan

Plato by proposing the "theory of forms" changed the essence of truth and he converted it from sensorial case to extrasensory. As a result, he disparaged art and beauty that they were depended with world of phenomena and senses. He considered idea’s position in the sphere of institute and episteme and placed sensorial case, "Doxa" and "Eikon" as base of art that from his point of view is not world of "to be" and "not to be", but its world of representation and as a result he interpreted art world and it’s product as a false phenomena. He claimed that art relates with revealed component of ego that causes irreparable ruin for human being and has relationship with "Episteme". In the other hand, Aristotle unlike Plato believed in art and existence originality and considered art as a result of human’s episteme and rationality. He introduced adequacy, cognition natural talent as three principle of art. He claimed art and science deal with episteme and knowledge and they are common at the end. But what is Plato and Aristotle disagreement in sphere of art and from where it originates? And which cases are not similar in the sphere of art? The following essay will explain Plato and Aristotle’s art philosophy and comparing and explaining their ideas with relating existence originality and essence originality.  


2021 ◽  
Vol 6 (1) ◽  
pp. 174-180
Author(s):  
Dr. Sanjay Kumar Dutta

 A literary artist seldom works in a vacuum, in isolation; rather, he draws materials of his art from the social, cultural, political and philosophical currents of his milieu, and eventually contributes his interpretation of these ideas to society. Yeats is not an exception; but his critical sensibility looked far towards Indian ideas. He found Indian ideas of art, philosophy, and religion inspiring and stimulating to such an extent that a vital part of career was engaged in assimilating as well as reproducing them through his own art. Though Yeats’ critics and biographers have already noted the impact of Indian thought on his poetry, the present paper endeavors to show the interface between Yeats and Purohit Swami and how their friendship resulted in a mutual enrichment.


2007 ◽  
Vol 43 (2) ◽  
pp. 287-303
Author(s):  
Susanne Kogler

That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.


2018 ◽  
Vol 5 (1) ◽  
Author(s):  
Laura D'Olimpio ◽  
Andrew Peterson

Following neo-Aristotelians Alasdair MacIntyre and Martha Nussbaum, we claim that humans are story-telling animals who learn from the stories of diverse others. Moral agents use rational emotions, such as compassion, which is our focus here, to imaginatively reconstruct others’ thoughts, feelings and goals. In turn, this imaginative reconstruction plays a crucial role in deliberating and discerning how to act. A body of literature has developed in support of the role narrative artworks (i.e. novels and films) can play in allowing us the opportunity to engage imaginatively and sympathetically with diverse characters and scenarios in a safe protected space that is created by the fictional world. By practising what Nussbaum calls a ‘loving attitude’, her version of ethical attention, we can form virtuous habits that lead to phronesis (practical wisdom). In this paper, and taking compassion as an illustrative focus, we examine the ways that students’ moral education might usefully develop from engaging with narrative artworks through Philosophy for Children (P4C), where philosophy is a praxis, conducted in a classroom setting using a Community of Inquiry (CoI). We argue that narrative artworks provide useful stimulus material to engage students, generate student questions, and motivate philosophical dialogue and the formation of good habits, which, in turn, supports the argument for philosophy to be taught in schools.


1970 ◽  
Vol 8 (1) ◽  
pp. 293-294
Author(s):  
Stanisław Kowalczyk ◽  
Jan Kłos

Sport plays today an eminent role in man's life and in societies. Various sciences have made it the subject-matter of their reflection, i.e. psychology, sociology, the natural and humanistic sciences, art, philosophy, and theology. The present work seeks to answer some fundamental questions connected with the phenomenon of sport: what is it for man (part one)? whether and when does it serve the social integration of a community (part two)? what are the premises and principles of the ethics of sportive activity (part three)? what is the aesthetic dimension of sport (part four)? what are the relations between sport and religious faith (part five)? The philosophical profile is dominant in the book, taking into consideration various aspects of sport: anthropological, social, axiological, and theological.


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