Romanticism as Modern Re-Enchantment: Burke, Kant, and Emerson on Religious Taste

Author(s):  
Emily Dumler-Winckler

AbstractThis essay traces the contours of a trans-Atlantic Romantic legacy of aesthetic, moral and religious taste from its inception in Edmund Burke, through its modifications by Immanuel Kant, to its culmination in Ralph Waldo Emerson’s Divinity School Address. In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful Burke suggests that religious experience is an aspect of aesthetic and moral taste. Immanuel Kant follows suit in the Critique of Judgment, offering a distinct account of religious taste. Emerson alludes to yet significantly refines aspects of both accounts in his Divinity School Address. Whereas Kant and Burke’s variously stoic accounts depict good religious taste as an experience of alienation from God and from the world, Emerson’s religious agent cultivates a modern spirituality quite at home in the world. Adapting Burke’s re-enchanted moral psychology of taste, Emerson offers a distinctively religious, indeed Christian, form of this modern re-enchantment. Yet for Emerson, refined religious taste allows agents to recognize the full spectrum of normative demands in nature and thus to make a home of such a world.

2015 ◽  
Vol 63 (1) ◽  
Author(s):  
Benjamin Moldenhauer

AbstractThe essay defines two different modes of filmic violence: sublime and drastic pictures of violence. Based on the definitions of the sublime by Edmund Burke and Immanuel Kant, I argue that the sublime has the tendency to detach the viewer from possible affective end empathetic response to pictures of bodies in pain on the screen. By contrast, the drastic mode has potential to evoke empathetic reactions. Both modes are grounded in specific ways of showing violence: the sublime mode diminishes the bodies on the screen, the drastic mode shows us the faces in close-up and tries to immerse the viewer in the violence.Both definitions are informed by phenomenological film theory (especially the works of Vivian Sobchack), which positions the body of the viewer at the centre of film reception. Nevertheless, the somatic experience is not the only scope of film reception. Films not only show us a filmic world but also suggest a more or less specific way of seeing the world outside the cinema.To this effect, both ways of staging violence have ideological implications. The sublime violence allows the viewer to experience himself as strong and invulnerable, while drastic pictures of violence tend to victimize the viewer.These assumptions are tested on two exemplary instances: the helicopter scene in Francis Ford Coppolas war movie Apocalypse Now and the shower scene in Alfred Hitchcock’s Psycho.


2019 ◽  
Author(s):  
Frances Hsu ◽  

Kant distinguishes two notions of the sublime: the mathematically sublime and the dynamically sublime. In the case of both notions, the experience of the sublime consists in a feeling of the superiority of our own power of reason, as a super sensible faculty, over nature. (Stanford Encyclopedia of Philosophy) The concept of the sublime was associated with nature in late 18th and early 19th century aesthetics. Political philosopher and states-man Edmund Burke evoked human mortality in A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful, defining the sublime as experience of the overwhelming magnitude of phenomena in the natural world which causes “a sort of delightful horror, a sort of tranquility tinged with terror; which, as it belongs to self-preservation, is one of the strongest of all the passions.” Kant, in contrast to Burke, defines rationality is an important component of the experience of the sublime: “The sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence provokes a representation of limitlessness, yet with a super-added thought of its totality.” That is, reason--super-added thought--allows us to comprehend and challenge the entirety of that which is beyond comprehension. He writes that “the feeling of the sublime in nature is respect for our own vocation . . . this feeling renders as it were intuitable the supremacy of our cognitive faculties on the rational side over the greatest faculty of sensibility.” For Kant, in other words, the experience of the sublime was the oscillation between sensation and rationality in the face of the overwhelming-ness of phenomena in the world.


2016 ◽  
Vol 5 (1) ◽  
pp. 83-93
Author(s):  
Miguel Angel Gaete Cáceres

ABSTRACTThis article provides a critical review of the concept of the sublime based on Longino, Edmund Burke and Immanuel Kant. From here, we will try to discover the presence of the sublime as an important factor in shaping the contemporary world culture, through its presence in art or in the conception of nature and the environment. Finally, the main objective of this paper is demonstrate how the sublime offers an alternative means to understand the problem of "infinite" and "unlimited" in the context of technology, the emergence of the metropolis and the filtration in the capitalist rhetoric, offering a different focuser in this classic study of aesthetics.RESUMENEl presente texto es un estudio que ofrece una revisión crítica al concepto de lo sublime basándose en la teorización clásica de esta idea, es decir, la adjudicada a Longino, Edmund Burke e Immanuel Kant. A partir de aquí, se intentará descubrir la presencia de lo sublime como un factor relevante en la configuración cultural del mundo contemporáneo, pasando por su presencia innegable en el arte de las vanguardias o en la concepción de la Naturaleza y el entorno. Finalmente, el objetivo central de este escrito es demostrar cómo lo sublime ofrece también una alternativa para comprender el problema de "lo infinito" y "lo ilimitado" en el marco de las tecnologías, la eclosión de las grandes ciudades y su filtración en el sustrato retórico del capitalismo, ofreciendo así una vía diferente en el estudio de este tema clásico de la estética.


Author(s):  
Hoyu Ishida

The author, Professor of Religious Studies and English at the University Center for Intercultural Education, University of Shiga Prefecture, Japan,and Guest Professor of the University of the Air, is a graduate of Harvard Divinity School and Stanford University, USA. He has published many articles and papers in the areas of comparative studies of Eastern and Western thought with emphasis on Buddhism. Professor Ishida is the author of several books - one of which is on John Lennon, the former leader of the Beatles. He is currently working on a book on Shinran and Dogen, two of the leading figures of the "reformed Buddhism" of the Kamakura period (1185- 1333) in Japan. The text that follows is a slightly revised and edited version of a paper presented by the author at the international symposion on "Globalization and Local Identity", organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.


Author(s):  
Н. Алтыкеева ◽  
Б. Ниясалиева

Аннотация. Макалада романдын мазмунунан орун алган пейзаждык сүрөттөөлөр талкууланат. Пейзаждык сүрөттөөлөр чыгарманын көркөмдүүлүгүн, эстетикалык баалуулугун арттыруу менен катар эле каармандардын образын тереңден ачып берүүдө, окуялардын өнүгүп-өсүшү жана алдыда боло турган окуялар тууралуу окурманга маалымат берүүдө кошумча каражат катары колдонулат. Жазуучу романда пейзаждык сүрөттөөлөрдү өтө кылдат колдонгону байкалат. Алсак, тоо адамдагы улуулук жана бийиктикти айгинелейт, толукшуган ай жан- дүйнөнүн бөксөрбөй толуп турушун көрсөтөт, ачык асмандын алай-дүлөй түшкөн көрүнүшкө айланышы - каармандын ички сезими, уйгу-туйгу ойлонуусу, жан дүйнөсүнүн бурганак болушун ачып көрсөтүүдө маанилүү болсо, чабалекейлердин тынымсыз учуп чабалакташы, жан алакетке түшүп чыйпылдашы – алдыда боло турган кырсыктуу окуя тууралуу кабар берсе, согуштун апааты жашыл шибердин, бак-дарактардын күлгө айланышы, чымчык-куштардын күздү күтпөй кайдадыр учуп кетип жатышы менен түшүндүрүлөт. Tүйүндүү сөздөр: пейзаж. роман, идея, легенда, эпилог, каарман, негизги окуялар. Аннотация. В статье дается пейзажное описание. Пейзажное описание используется в произведении как дополнительное средство эстетических ценностей и помогает раскрыть образы героев, и действия произведения. Писатель в романе тонко использует пейзажное описание. Например горы возвышенное и самое ценное в человеке, а полная луна – счастливое душевное состояние человека, а превращение безоблачного неба в бущующий вид – указывает, как неспокойно в душе главного героя, его беспокойные мысли, как бушует его внутренний мир, а ласточки неспокойно летающие, предвещают несчастье, птицы улетающие раньше времени, превращение зелёной травы, деревьев в пепел предвещают ужасы войны. Ключевые слова: пейзаж. роман, идея, легенда, эпилог, герой, главное событие Annotation. The article discusses the landscape description. The landscape description is used in the work as an additional tool for aesthetic values and helps to reveal the images of heroes, and in the development of the action of the work/ The writer in the novel subtly uses the landscape description. The mountains are the sublime and the most valuable in a person, and the full moon is a happy state of mind of a person, and the transformation of a cloudless sky into a raging view indicates how restless the soul of the protagonist is, his restless thoughts. How his inner world is raging, and the swallows are restlessly flying, foreshadow the misfortune, the birds flying away ahead of time, the transformation of green grass, trees in the forehead the horrors of war. This article describes the idea of the story "Do not kill" which is given instead of the epilogue in the novel "When the mountains fall" which was written by Ch.Aitmatov. It considers the role of a story that calls to live in peace and to end wars that are occurring in the world. Keywords: Landscapе, novel, idea, legend, epilogue, hero, main event.


GEOgraphia ◽  
2010 ◽  
Vol 10 (19) ◽  
pp. 103
Author(s):  
Alexandre Domingues Ribas ◽  
Antonio Carlos Vitte

Resumo: Há um relativo depauperamento no tocante ao nosso conhecimento a respeito da relação entre a filosofia kantiana e a constituição da geografia moderna e, conseqüentemente, científica. Esta relação, quando abordada, o é - vezes sem conta - de modo oblíquo ou tangencial, isto é, ela resta quase que exclusivamente confinada ao ato de noticiar que Kant ofereceu, por aproximadamente quatro décadas, cursos de Geografia Física em Königsberg, ou que ele foi o primeiro filósofo a inserir esta disciplina na Universidade, antes mesmo da criação da cátedra de Geografia em Berlim, em 1820, por Karl Ritter. Não ultrapassar a pueril divulgação deste ato em si mesma só nos faz jogar uma cortina sobre a ausência de um discernimento maior acerca do tributo de Kant àfundamentação epistêmica da geografia moderna e científica. Abrir umafrincha nesta cortina denota, necessariamente, elucidar o papel e o lugardo “Curso de Geografia Física” no corpus da filosofia transcendental kantiana. Assim sendo, partimos da conjectura de que a “Geografia Física” continuamente se mostrou, a Kant, como um conhecimento portador de um desmedido sentido filosófico, já que ela lhe denotava a própria possibilidade de empiricização de sua filosofia. Logo, a Geografia Física seria, para Kant, o embasamento empírico de suas reflexões filosóficas, pois ela lhe comunicava a empiricidade da invenção do mundo; ela lhe outorgava a construção metafísica da “superfície da Terra”. Destarte, da mesma maneira que a Geografia, em sua superfície geral, conferiu uma espécie de atributo científico à validação do empírico da Modernidade (desde os idos do século XVI), a Geografia Física apresentou-se como o sustentáculo empírico da reflexão filosófica kantiana acerca da “metafísica da natureza” e da “metafísica do mundo”.THE COURSE OF PHYSICAL GEOGRAPHY OF IMMANUEL KANT(1724-1804): CONTRIBUTION FOR THE GEOGRAPHICALSCIENCE HISTORY AND EPISTEMOLOGYAbstract: There is a relative weakness about our knowledge concerningKant philosophy and the constitution of modern geography and,consequently, scientific geography. That relation, whenever studied,happens – several times – in an oblique or tangential way, what means thatit lies almost exclusively confined in the act of notifying that Kant offered,for approximately four decades, “Physical Geography” courses inKonigsberg, or that he was the first philosopher teaching the subject at anyCollege, even before the creation of Geography chair in Berlin, in 1820, byKarl Ritter. Not overcoming the early spread of that act itself only made usthrow a curtain over the absence of a major understanding about Kant’stribute to epistemic justification of modern and scientific geography. Toopen a breach in this curtain indicates, necessarily, to lighten the role andplace of Physical Geography Course inside Kantian transcendentalphilosophy. So, we began from the conjecture that Physical Geography hasalways shown, by Kant, as a knowledge carrier of an unmeasuredphilosophic sense, once it showed the possibility of empiricization of hisphilosophy. Therefore, a Physical Geography would be, for Kant, theempirics basis of his philosophic thoughts, because it communicates theempiria of the world invention; it has made him to build metaphysically the“Earth’s surface”. In the same way, Geography, in its general surface, hasgiven a particular tribute to the empiric validation of Modernity (since the16th century), Physical Geography introduced itself as an empiric basis toKantian philosophical reflection about “nature’s metaphysics” and the“world metaphysics” as well.Keywords: History and Epistemology of Geography, Physical Geography,Cosmology, Kantian Transcendental Philosophy, Nature.


Author(s):  
Bart Vandenabeele

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.


Religions ◽  
2019 ◽  
Vol 10 (8) ◽  
pp. 478
Author(s):  
Verónica Roldán

The present study on the religious experience of the Peruvian community in Rome belongs to the area of studies on immigration, multiculturalism, and religion in Italy. In this article, I analyze the devotion of the Peruvian community in Rome to “the Lord of Miracles”. This pious tradition, which venerates the image of Christ crucified—painted by an Angolan slave—began in 1651 in Lima, during the Viceroyalty of Peru. Today, the sacred image is venerated in countries all over the world that host Peruvian immigrant communities that have set up branches of the Confraternity of the Lord of Miracles. I examine, in particular, the cult of el Señor de los Milagros in Rome in terms of Peruvian popular religiosity and national identity experienced within a transnational context. This essay serves two purposes: The first is to analyze the significance that this religious experience acquires in a foreign environment while maintaining links with its country of origin and its cultural traditions in a multilocal environment. The second aim is to examine the integration of the Peruvian community into Italian society, beginning with religious practice, in this case Roman Catholicism. This kind of religiosity seems not only to favor the encounter between the two cultures but also to render Italian Roman Catholicism multicultural.


1997 ◽  
Vol 52 (1) ◽  
pp. 27-57 ◽  
Author(s):  
Steven Blakemore

This essay demonstrates that James Fenimore Cooper was incorporating the language and values of Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) into the "world" of The Last of the Mohicans (1826). In the Enquiry Burke's distinction between the sublime and beautiful centers on traditional distinctions between men and women-an "eternal distinction" that Burke continually underscores. In Mohicans Cooper initially incorporates the beautiful into the sublime, in an intentionally illusive "mix" that corresponds to the illusory mixing of the white and Indian races. He then reinscribes Burke's distinction between the sublime and beautiful as an eternal distinction between whites and Indians-writing "out" the problem of the "Other" (gendered "femininity" and alien, "red" beauty) in a meditation of the significance of culture and race in America. In retrospect, Mohicans is a novel of ambiguous "crosses" and complicitous combinations-a novel of fatal and fruitful mixes comprising a series of covert traces telling a secret story contradicting Cooper's overt, racial ideology. Yet it is this "pristine" ideology that finally overpowers and double-crosses the novel's "other" message. Written in 1826, at a specific historical moment when the Indian tribes were being removed or destroyed, the novel reaffirms a racial ideology tortured with its own historical ambiguities.


1914 ◽  
Vol 7 (4) ◽  
pp. 538-594
Author(s):  
Benjamin B. Warfield

In a recent number of The Harvard Theological Review, Professor Douglas Clyde Macintosh of the Yale Divinity School outlines in a very interesting manner the religious system to which he gives his adherence. For “substance of doctrine” (to use a form of speech formerly quite familiar at New Haven) this religious system does not differ markedly from what is usually taught in the circles of the so-called “Liberal Theology.” Professor Macintosh has, however, his own way of construing and phrasing the common “Liberal” teaching; and his own way of construing and phrasing it presents a number of features which invite comment. It is tempting to turn aside to enumerate some of these, and perhaps to offer some remarks upon them. As we must make a selection, however, it seems best to confine ourselves to what appears on the face of it to be the most remarkable thing in Professor Macintosh's representations. This is his disposition to retain for his religious system the historical name of Christianity, although it utterly repudiates the cross of Christ, and in fact feels itself (in case of need) quite able to get along without even the person of Christ. A “new Christianity,” he is willing, to be sure, to allow that it is—a “new Christianity for which the world is waiting”; and as such he is perhaps something more than willing to separate it from what he varyingly speaks of as “the older Christianity,” “actual Christianity,” “historic Christianity,” “actual, historical Christianity.” He strenuously claims for it, nevertheless, the right to call itself by the name of “Christianity.”


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