Arthur Danto's theory of art contains a theological way of thinking about indiscernible realities that have been the subject of theological dispute for almost two millennia. This long tradition raises new questions for how to understand that theory. Transfiguration – metamorphosis – necessarily involves a change at some point in appearance or in what Danto treats as aesthetic properties inessential to the being of art. Transubstantiation means an ontological change that excludes a priori any perceptible difference. Danto often insists (...) on this very particular aspect when he explains the relationship between artworks and commonplace objects: a non‐art object can look exactly like an artwork. In the Catholic tradition, transubstantiation can occur only if those performing the sacrament act faithfully and in conformity to a tradition. Danto's theory is understand better by reference to transubstantiation than to transfiguration. (shrink)

_Transfigurements_ develops a framework for thinking about art through innovative readings of some of the most important philosophical writing on the subject by Kant, Hegel, and Heidegger. Sallis exposes new layers in their texts and theories while also marking their limits. By doing so, his aim is to show that philosophy needs to attend to art directly. Consequently, Sallis also addresses a wide range of works of art, including paintings by Raphael, Monet, and Klee; Shakespeare’s comedies; and the music of (...) Beethoven, Schubert, Mahler, and Tan Dun. Through these interpretations, he puts forth a compelling new elaboration of the philosophy of art. (shrink)

Exploring the intricacy and complexity of Walter Pater's prose, Transfigured World challenges traditional approaches to Pater and shows precise ways in which the form of his prose expresses its content. Carolyn Williams asserts that Pater's aestheticism and his historicism should be understood as dialectically interrelated critical strategies, inextricable from each other in practice. Williams discusses the explicit and embedded narratives that play a crucial role in Pater's aesthetic criticism and examines the figures that compose these narratives, including rhetorical tropes, structures (...) of argument such as genealogy, and historical or fictional personae. (shrink)

In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shusterman’s Somaesthetics. From Hip Hop Philosophy to Politics and Performance Art (2022). I will articulate my reflections around three main themes, which intersect the theme of several of the essays of the volume: I will first of all consider the concept of transfiguration, commenting upon the difference between Danto’s hermeneuticist perspective and Shusterman’s somaesthetic reinterpretation, with special regard to his performative experiment, the Man (...) in Gold. Secondly, I will turn to a possible consequence entailed by this reinterpretation concerning the relation between aesthetics and art. Finally, I will turn to the controversy between somaesthetics and pathic aesthetics, and comment on a possible way to reconcile some elements of both, starting from the condition of the suffering body. (shrink)

In the biblical Transfiguration, nothing changes, and yet nothing remains as it was before. From this major reference, this paper articulates some reflections and questions, where esthetics, literature and philosophy combine, intersect and confront.

Aesthetic transfiguration, as described by Nietzsche, is the capacity of art to alchemize the meaningless sufferings of natural existence into the aesthetically magnificent struggle that is human ‘life’. Like Nietzsche, Schopenhauer assessed ‘art from the perspective of life’. As Schopenhauer is standardly read, however, his conception of aesthetic experience has little in common with that offered by Nietzsche. Against the standard reading, this chapter argues that Nietzsche’s psychology of aesthetic experience—and in particular his idea that aesthetic transfiguration invests (...) human experience with positive value—is essentially an elaboration of insights owed to Schopenhauer. (shrink)

The question of whether the phenomenon of passionate love is a natural phenomenon, as for naturalist psychologists, or rather a cultural product of Western civilization, was asked already by Nietzsche. This article deals with Denis de Rougemont’s essay L’amour et l’occident, in which the Swiss French intellectual answers the question decidedly in the sense of the second alternative. According to Rougement, passionate love finds its source in the movement of Catharism, which developed in Southern France in the 12th and 13th (...) centuries. Courtois love is expression of a transfigured love towards God combined with a gnostic disdain of the created world. The article also discusses the critiques that have been raised against Rougemont’s thesis, but emphasizes that Rougemont’s thesis has to be read at a higher level of explanatory abstraction than that of its critiques. (shrink)

Transhumanism seeks to transgress the human, regarding finitude and suffering to be fundamental problems that must be overcome by radical bioenhancement technologies. Christianity and transhumanism have been compared as competing deifications via grace and technology, respectively. I argue that the grace of deification is partly accomplished in union with Christ by way of suffering unto divine filiation. First, I explore how the grace of deification is accomplished through suffering, looking at Maximus the Confessor’s dyothelitism. Christ in Gethsemane expresses the fulfilment (...) of divine filiation, aligning Christ’s human will with the divine will. Second, I examine deification in light of Luther’s theologia crucis and how suffering leads to ‘Christosis’. A human’s divine mode of existing is filial and cruciform and thus Christoform. Third, I look at deification and Augustine’s totus Christus. The Church is transfigured into Christoformity as the members of the body suffer with one another in compassion. Taken together, dyothelitism critiques transhumanist exaltation of the will, theologia crucis critiques transhumanist power ontology, and totus Christus as shared suffering critiques transhumanist individualism. I conclude that suffering is transfigured: suffering, not transhumanism, is the way to true human enhancement. (shrink)

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

취미의 이율배반을 헤겔적으로 변용함으로써 칸트 미학이 현대 예술과 관련하여 지닐 수 있는 의미를 검토해 보면 다음과 같은 결론을 얻을 수 있다. 첫째, 창작을 하는 주체인 ‘천재’를 통해 현시되는 ‘미감적 이념’이 ‘취미판단’의 가능성의 조건으로 요구되는 ‘미감적 이념’과 다르지 않으며, 칸트 미학에서 미감적 이념을 매개로 창작과 감상의 활동은 상호 공속적인 관계를 맺을 수 있다. 둘째, ‘어떤 것이 예술인가’ 여부를 판정할 때 발생하는 ‘예술의 이율배반’에서 논쟁의 가능성의 조건으로 필요한 것은 ‘예술계’이며, 이 점에서 칸트의 미감적 이념과 단토의 예술계는 유사한 맥락에서 이해 가능하다. 셋째, 선험성을 (...) 지니는 미감적 이념은 실질적으로 논쟁을 수행하는 주체들이 처한 역사적 조건하에서 현실화된다. 이러한 고찰을 통해 칸트의 미학이 적용 가능한 의미 영역이 확장될 수 있다. (shrink)

L’invention de la théorie de l’inconscient, sur fond de Vaterkomplex non liquidé, semble avoir opéré chez Sigmund Freud – « Juif sans Dieu » revendiquant son athéisme –, comme un symptôme (Nom-du-Père) lui ayant garanti une « fidélité hérétique » dans son rapport contrasté au judaïsme. Peut-être bien que L’homme Moïse et la religion monothéiste (1939), œuvre testamentaire mise en chantier dans le contexte de la montée du nazisme en Europe, aurait à sa manière permis au fondateur de la psychanalyse (...) – au terme d’une méditation métapsychologique serrée sur la genèse et le devenir de l’identité juive –, l’esquisse d’une transfiguration par l’exil. (shrink)

In this essay I build on John Cottingham’s suggestion that we need an epistemology of involvement (or receptivity), as opposed to an epistemology of detachment, if we are properly to understand the world in religious terms. I also refer to these as ‘engaged’ and ‘disengaged’ stances. I seek to show how the spiritual practice of an ‘active’ or ‘engaged’ love is integral to the sort of epistemology of involvement through which we come to a religious understanding of the world. Such (...) an understanding is one that gives proper recognition to the sacred or reverence-worthy character of the world. I discuss how a religiously-inflected language of love and the practice it informs can transfigure the world for us and enable its sacred or reverence-worthy character to come into view (supposing it is there in any case). I also seek to show how this is connected to a process of spiritual formation (or Bildung). (shrink)

This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being (...) of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible. (shrink)

Several deconstructive readings of Kierkegaard from the early 1980’s and 1990’s begin with a critique of the role the aesthetic plays in The Point of View for My Work as an Author in order to trouble the entire (ostensive) hierarchy of religious-ethical-aesthetic. These readings suggest that there is no way to discern with certainty whether the signature “Kierkegaard” (here and elsewhere) indeed refers to the factical author, or is just another playful aesthetic pose. From this point, they go on to (...) challenge the received view that the first authorship as a whole should be understood as fundamentally religious rather than aesthetic. I argue that this is a largely unsuccessful move, because these readers do not do full justice to Kierkegaard’s understanding of the transfiguration (or appropriation) of the lower stages of existence into the higher, in the balancing of the self. Re-reading the autobiographical texts with this in mind shows that the authorship is indeed a religious enterprise, even granting the questionable status of The Point of View. I conclude by arguing that On My Work as an Author represents a more successful autobiographical transfiguration of the aesthetic within the ethical-religious stages – and hence a more complete balancing of his own self – and that this work should also be understood as an act of witnessing. Indeed, for Kierkegaard to witness in a way other than through his writing would be a kind of despair, insofar as he would be willing to be someone other than himself. (shrink)

Schuon proposes a view of man contradictory to the image of modern psychology; he views human nature in relationship to God.

Einleitende worte (im hinblick auf die atombombe)-Transfiguration.-Michelangelos sibyllen und propheten.-Betrachtungen über den ruhm, die nachahmung und das glück.-Plotin; oder, Das ende des griechischen geistes.-Thomas de Quincey.-Thomas Hardy.

ABSTRACTThe point of departure of this essay is the intuition that the relationship between the past and the present should be conceived of in terms of temporal distance. The spatial metaphor of distance at work in this intuition is thought to provide the basis for the epistemological model appropriate for understanding the nature of historical knowledge. This results in two claims: 1) epistemology is the philosophical instrument we must rely upon for understanding historical writing, and 2) the metaphor of distance (...) is—whether one is aware of it or not—the model for most, if not all, epistemological thought. This essay discusses the pros and cons of these two claims. It argues that the two claims are indeed the best way to begin our analysis of the relationship between the past and the historical text or representation. However, we cannot afford to stop there; indeed, we must ask ourselves where the associations we have with the metaphor of temporal distance may, in the end, be misleading. This will enable us to recognize that the notion of distance will, finally, have to yield its prerogatives to that of the notion of function. Historical writing is functionalist in the sense that the historical text is a substitute for the past discussed in it. That is its function. Hence the essay's title. (shrink)

Why should one go to see works of art if one can look at faces in clouds and other somewhat more complex forms in tarmac? Does my aesthetic experience discover something unprecedented when it takes products of human Intentionality as substrate rather than “natural objects” supposedly lacking all Intentionality? These questions raise that of the contribution of authorship in the framework of aesthetic experience ; they question the role of the author from one of a number of possible points of (...) view. The aim here is to advance this thought setting out from an experience of thought. Borrowing from the methodology of Arthur Danto displayed in The transfiguration of the commonplace, this experience of thought seeks to determine the structural differences between an aesthetic experience undertaken concerning Robert Smithson’s Spiral Jetty and that undertaken concerning an indiscernable perceptible said to have been generated randomly by nature. The question at the heart of this article is how to characterize the difference implied by the presence of the data-author for the aesthetic experience (transl. J. Dudley). (shrink)

The moral theology of Hans G. Ulrich is presented here in English for the first time. These collected essays represent the culmination of a lifetime of reflection on Christian living from this German theologian in conversation with Luther, Bonhoeffer, and contemporary philosophers and theologians. Ulrich's ethics affirms the lively presence of the living work of God in orienting the daily life of Christians. This presence enables members of the Church to live as creatures trusting in God's promises, bearing witness in (...) political and economic spheres, and trusting in life as a gift in response to bioethical issues. Ulrich's fresh take on living out of the promise of God yields further guidance on issues in international relations, economics, parenting, disability, and more. (shrink)

Within the fields of social medicine and the medical humanities, chronic illness is acknowledged not just as an individually but as a socially transformative experience. The proliferation of published ‘illness narratives’ in recent years attests to the socially compelling nature of this particular story of transformation. Indeed, illness narratives have, in the past decade or so, become a rich source of interest in sociological and medical anthropological work for their capacity to map the material transformation of person to patient, of (...) an assumed to a newly fluid model of subjectivity. Their significance is particularly visible in the cultural context of the west, where more people live both to be diagnosed with chronic illnesses (such as cancer) and to survive them. With a focus on two recently published Australian works, Eating the Underworld: A Memoir in Three Voices (2001), by the psychologist Doris Brett, and Tiger’s Eye: A Memoir (2001), by the historian Inga Clendinnen, this paper will consider how the illness experience marks a transformation of embodied subjectivity that, in turn, triggers transformations of other kinds. These works have quite different intents, but they provide models for exploring how physical and individual transformation through illness becomes the occasion for reconsidering the body of history, and of the resonances of history in social memory. (shrink)

La représentation de la laideur et de la souffrance du corps humain ont fait l'objet d'une stylisation pour la rendre conforme à l'idéal classique du beau. L'art contemporain tente au contraire de transgresser cette idéalisation pour saisir le pathos même de la vie du corps. Mais en poussant ainsi à l'extrême cette expérience plastique, ne touche-t-on pas aux limites de la représentation artistique ?Representations of ugliness and sufferance of the human body have been subjected to stylization to comply with the (...) classic ideal of beauty. Contemporary art tries, on the other hand, to break away from this ideal to capture the very pathos of the body's life. But are we not reaching to the limits of artistic representation by thus pushing to the extreme this art's experience ? (shrink)

Music often pictures emotion through representing its expression and is thereby able to bear insight into significant aspects of emotional life. Scruton's arguments for denying that music is significantly representational is shown to fail, musical pictures having their own sort of determinacy. Musical representation is dramatic. Musical sounds play the role of expression. They themselves are portrayed as expressing the emotions which we thus represented. But musical drama is distinct from literary drama.

The Eurasianist movement launched a theory according to which Russia does not belong to Europe but forms, together with its Asian colonies, a separate continent named “Eurasia” whose Eastern border is the Pacific Ocean. Similarily, in the early 1920s, Richard Coudenhove-Kalergi, the founder of the Pan-European movement, developed, the idea of “Eurafrica.” I compare the writings of Coudenhove and those of Nicolas S. Trubetzkoy and show how the idea of Europe was used as an anti-essentialist model of a cultural community. (...) Though both “Eurasia” and “Eurafrica” may be understood to express cultural and economic imperialism, the sophistication with which both concepts are brought forward makes their interpretation as simple derivatives of chauvinism impossible. Both Trubetzkoy and Coudenhove refuse national “egocentricity” which “destroys every form of cultural communication between human beings.” Above that, Trubetzkoy and Coudenhove agree that cultural apogees have often come about through fusion. I discuss the idea of “convergence” in the context of Bergson's and Deleuze's biophilosophies. (shrink)

This essay studies Edie Fake’s award-winning graphic novel Gaylord Phoenix from the perspective of Queer Theory and Transgender Studies. Nikki Sullivan’s use of the term transmogrification from her work on somatechnics provides a critical lens through which to examine Fake’s exploration of the transgender body in his narrative. Fake includes multiple images of bodies undergoing radical transformations through a combination of magic and surgery, blurring the distinction between modern science and the occult. The essay also explores Fake’s status as an (...) innovator in the world of comic books and graphic novels as he creates an idiosyncratic verbal and visual vocabulary largely unprecedented in the world of sequential art. (shrink)