Subtle Scripture for an Invisible Church

1998 ◽  
pp. 158-165
Author(s):  
Sandra L. Shapshay
Keyword(s):  
Moral Reasoning ◽  
Moral Psychology ◽  
Functional Role ◽  
Literary Imagination ◽  
Natural Religion ◽  
The Third ◽  
Aesthetic Autonomy ◽  
Poetic Justice ◽  
The Aesthetic ◽  
The Invisible

I argue for an interpretation of Kant's aesthetics whereby the experience of the beautiful plays the same functional role in the invisible church of natural religion as Scripture does for the visible churches of ecclesiastical religions. Thus, I contend, the links that Kant himself implies between the aesthetic and the moral (in the third Critique and the Religion) are much stronger than generally portrayed by commentators. Indeed, for Kant, experience of the beautiful may be necessary in order to found what Kant views as the final end of morality — the ethical community — since human moral psychology requires embodiments of moral ideas. Finally, I seek to modify Martha Nussbaums' argument in Poetic Justice (1995) for the increased use of the literary imagination as a means for improving public moral reasoning in this country, with the Kantian insight that aesthetic autonomy is the key to any aesthetic-moral link.

La troisième dimension — De la fonction éthique et esthétique du décor dans le théâtre de machines français du XVIIe siècle

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut
Keyword(s):  
Seventeenth Century ◽  
Character Traits ◽  
Optical Illusion ◽  
Stage Design ◽  
The Third ◽  
Adequate Representation ◽  
Third Dimension ◽  
Xviie Siecle ◽  
The Aesthetic

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.

scholarly journals Unsur Budaya Material dalam Novel Entrok Karya Okky Madasari

ATAVISME ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 200-216
Author(s):  
Miftahurohmah Hikmasari ◽  
Wening Sahayu
Keyword(s):  
Material Culture ◽  
Research Problem ◽  
Literary Work ◽  
Aesthetic Value ◽  
Literary Works ◽  
Descriptive Research ◽  
The Third ◽  
Qualitative Descriptive ◽  
The Aesthetic

This research aims to classify and describe the material culture elements contained in Okky Madasari’s novel Entrok. The research problem includes the classification of material culture elements which only exist in Indonesia, and most of them are related to Javanese culture. This research was a qualitative descriptive research. The data were in the form of words and phrases obtained from Okky Madasari’s Entrok. The result showed that there were six elements of material culture. The most commonly found material culture element was food, the second was house, the third was clothes, and the least found were vehicle, daily equipment, and art tool. The use of material culture elements in literary works, such as novel, not only improves the aesthetic value of the work, but also can be used as a media of education, so that the literary work enthusiasts can recognize better and are able to preserve the cultures in Indonesia.

scholarly journals Three unknown letters of Filaret Kolessa

Ethnomusic ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 158-169
Author(s):  
Vasyl Koval ◽  
Keyword(s):  
Textual Analysis ◽  
Multidisciplinary Approach ◽  
Scientific Research ◽  
Comprehensive Investigation ◽  
The Third ◽  
Spiritual Culture ◽  
Good Material ◽  
Depth Study ◽  
Object Of Study ◽  
The Invisible

Three unknown letters of Filaret Kolessa are the object of research in this sci- entific investigation: the first letter addressed to the “Reverend Father Dean” dated December 30, 1944, the second one to “Dear Friend Mykhailo Bardak, Master in Rudnyky” – January 14, 1945, and the third to “Her Excellency Mrs. Benefactress”, without a date. A letter from his wife Maria is also considered. Seemingly, it would be enough just to publish them. But these letters are being a good material for systematic scientific research and comprehensive investigation of traditional spiritual culture, its carriers, connoisseurs and researchers, etc. Therefore, these messages deserve de- tailed textual analysis. Summarizing the results, it should be noted that even a superficial systematic scientific research opens wide opportunities for further more detailed (in-depth) study 166 of the invisible at first sight conclusions laid down in the object of study. This means, that a multidisciplinary approach should also be applied to the obtained scientific conclusions, which could be joined by interested specialists from different areas: in this case not only ethnomusicologists, but also folklorists, historians, biographers, theologians, and finally, Kolessa-scholars.

Concept-less Schemata: The Reciprocity of Imagination and Understanding in Kant’s Aesthetics

2021 ◽  
Vol 26 (4) ◽  
pp. 511-529
Author(s):  
Luigi Filieri
Keyword(s):  
Empirical Concept ◽  
The Third ◽  
The Aesthetic ◽  
The Given

AbstractIn this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the third Critique1 and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the first Critique; 2) concept-less schematism is schematism with no empirical concept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are full-fledged cognitive determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept.

The Origins of Chinese Mountain Painting: Evidence from Archaeology

2003 ◽  
Author(s):  
JESSICA RAWSON
Keyword(s):  
Third Century ◽  
The Third ◽  
Major Subject ◽  
Mountainous Landscapes ◽  
The Aesthetic ◽  
The Universe

Mountainous landscapes, with massive crags and narrow fissures between rocks, through which water spouts, are among the principal subjects of paintings in China. This chapter addresses the question, why, in the first place, were these subjects chosen? It focuses on developments made during the Qin (221–207 bc) and Han (206 bc–ad 220) dynasties, from the third century bc onwards. It explores the ways in which the conditions prevailing in the Qin and Han periods moulded some aspects of the later Chinese practice. It is argued that the ways in which the Chinese from the Han period onwards viewed the cosmos determined their choice of mountains as a major subject for painted images. The chapter discusses attitudes to the cosmos and the aesthetic consequences of these views. It considers the whole range of ideas about the universe and not simply with depictions or models of mountains as representing one part of the cosmos.

From Teleosemantics to Normative Ethics

2019 ◽  
pp. 271-294
Author(s):  
Jacob Ross
Keyword(s):  
Functional Role ◽  
Moral Relativism ◽  
Normative Ethics ◽  
The Third ◽  
Three Stages ◽  
Normative Implications

The morally wrong actions, it seems, are the actions that are worthy of moral disapproval. Hence, one way to approach normative ethics is to ask the following question: Toward what kinds of action is moral disapproval fitting or correct? Chapter 13 argues that we can answer this question by adopting a teleosemantic framework. The chapter proceeds in three stages. It begins by proposing and defending a teleological theory of the contents of attitudes in general. The account proposed implies that the content of an attitude depends on its functional role. Accordingly, the second part of the paper defends an account of the functional role of moral disapproval. Then the third part combines the results of the first two parts in order to determine the content, and hence the correctness conditions, of moral disapproval. The chapter concludes with some remarks about the normative implications of the resulting view. In particular, it argues for a form of moral relativism.

scholarly journals The Aesthetic Interior as Incubator of Health and Well-Being

2017 ◽  
Vol 60 ◽  
pp. 277-301
Author(s):  
Richard W. Hayes
Keyword(s):  
Interior Design ◽  
Well Being ◽  
Walter Pater ◽  
Theophile Gautier ◽  
Aesthetic Movement ◽  
Domestic Interiors ◽  
Victorian Britain ◽  
Aesthetic Autonomy ◽  
The Aesthetic ◽  
Dress Reform

ABSTRACTDomestic interiors created during the Aesthetic Movement have often been interpreted in terms of the ideas of aesthetic autonomy associated with Théophile Gautier, Walter Pater and Joris-Karl Huysmans. This essay takes a different tack by analysing the aesthetic interior in light of concerns with health reform. It focuses on the writings and designs of architect E.W. Godwin (1833–86) who pursued interior design as part of an effort to foster a healthy life, one that consisted of hygiene, relief from urban stress, and an enlargement of the aesthetic responsiveness of his clients. He conceived of spare and calm interiors that were healthful alternatives to dust-infested Victorian clutter while concomitantly offering psychological respite from the ‘high-pressure, nervous times’ endemic to metropolitan life. This goal accords with Godwin's related interest in dress reform, a preoccupation that led to his participation in the Health Exhibition of 1884. By unpacking Godwin's specific contribution to the sanitary discussions that prevailed in Victorian Britain, I align the aesthetic interior with the central imperative of sanitary reform: promoting health through ameliorating Britain's urban environment.

How Does an Aesthetic Object Happen? Emergence, Disappearance, Multiplicity

2018 ◽  
Vol 12 (4) ◽  
pp. 478-498 ◽  
Author(s):  
Varvara Kobyshcha
Keyword(s):  
Ethnographic Study ◽  
Land Art ◽  
Aesthetic Theory ◽  
Gestalt Theory ◽  
Aesthetic Object ◽  
The Third ◽  
Plastic Arts ◽  
First Case ◽  
The Aesthetic ◽  
Social Phenomenology

In studying visual and plastic arts, social researchers tend to assume that an aesthetic object is pre-given to a viewer who does not participate in the process of the object’s becoming. They problematise the aesthetic status of an artwork, but not its objectness. This article shows that audience perception, considered as interaction and situated practice, does not merely define the meanings and emotions attached to a certain object, but plays a constitutive role in the object’s physical state and its very existence as an object, i.e. as an integrated unity extracted from its surroundings and affording a direct, intensive encounter. Synthesising the conceptual resources of Hennion’s pragmatics of taste, Simmel’s aesthetic theory, gestalt theory, and social phenomenology, I explain various ways an object in the situation of perception happens and achieves a certain mode of existence or fails to happen and disappears. The article is based on three empirical examples derived from the ethnographic study of the open-air land art/architectural festival ‘Archstoyanie’. The first case illustrates how an object is extracted from the environment and the festival’s infrastructure; the second, how the visitors destroy the incomplete boundaries of an object so that it dissolves into the surroundings; and the third, how an object maintains its integrity despite its inner complexity and multiple centres that attract the visitor’s attention.

Natural Histories of Form

2020 ◽  
Vol 151 (1) ◽  
pp. 51-73
Author(s):  
Ian Duncan
Keyword(s):  
Scientific Knowledge ◽  
Charles Darwin ◽  
Natural Basis ◽  
Alternative Account ◽  
Aesthetic Sense ◽  
Aesthetic Autonomy ◽  
And Gender ◽  
The Aesthetic ◽  
Natural Histories ◽  
Descent Of Man

Arguing that aesthetic preference generates the historical forms of human racial and gender difference in The Descent of Man, Charles Darwin offers an alternative account of aesthetic autonomy to the Kantian or idealist account. Darwin understands the aesthetic sense to be constitutive of scientific knowledge insofar as scientific knowledge entails the natural historian’s fine discrimination of formal differences and their dynamic interrelations within a unified system. Natural selection itself works this way, Darwin argues in The Origin of Species; in The Descent of Man he makes the case for the natural basis of the aesthetic while relativizing particular aesthetic judgments. Libidinally charged—in Kantian phrase, “interested”—the aesthetic sense nevertheless comes historically adrift from its functional origin in rites of courtship.

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