As an introduction to the case studies collected in the current special issue, this review article provides a brief, and by no means exhaustive, overview of research that proves to be relevant to the development of a concept of an aesthetics of knowledge in the academic study of religion and in science and technology studies. Finally, it briefly discusses recent work explicitly addressing the aesthetic entangle-ment of science and religion.

This ethnography explores the aesthetic dimension of religion and the sensational ways in which it contributes to shaping ordinary ethics on Long Street in Cape Town, South Africa. In the context of everyday social life on Long Street, homeless peoples’ claim of an ethical character is denied recognition. Long Street is a public space of conviviality and differences, a hybrid social reality marked with growing urbanization, globalization, and neoliberalism, and overseen by a continuous presence of security units. It is (...) a street saturated with ever‐increasing social problems resulting from a revival of class differences. Ordinary ethics on Long Street is complex, unpredictable, dynamic, and vulnerable, and stands the risk of potential breakdown. Against this backdrop, this ethnography recounts the ways in which aesthetic formations of religion stimulate technologies of imaginations that offer homeless people sensory experiences of refuge, recognition, being, and belonging amidst social exclusion and a harsh lived experience. Aesthetics of religion are ethics made visible in public life. (shrink)

The philosophy of religion is here presented from the viewpoint of a unitary conception of the universe, which it is hoped will do justice to the demands of the intellect and the needs of the heart. None is more conscious than the author of the difficulties confronting this notion. To grasp the psychological and neural processes, physical and chemical energies, social and individual principles, environment and heredity, historical and natural interpretations of human life; the ethical, aesthetical and intellectually verifiable, (...) the finite and infinite, the accidental and orderly, the permanent and evolving, - to mention only a few aspects, - under on comprehensive scheme, is a task which in its completeness is beyond present knowledge. There are, so it appears to our present vision, insuperable difficulties in the way of its realization. But it is an ideal worthy and persistent. Science and philosophy are converging to this end. And the ideal is particularly fascinating to religious thought. The writer holds it as a profound conviction, believing that the universe is such a whole that its divers phenomena may be most satisfactorily explained under the guidance of the principles of unity and continuity. He hopes this treatise may be a contribution to this end. (shrink)

This article examines the place of emotion in art and religion and the place of both in civilization. Art lies at the 'vanishing point of reason', at the point where reason gives way to emotion. This raises the question of how civilization addresses the non-rational, emotional, superstitious aspects of life. In particular, is modern civilization lacking in the vital warmth which can only come from the life of the emotions and which is essential to its continued existence and vitality? (...) Ending with a discussion of Collingwood's interpretation of T.S. Eliot's The Waste Land, it concludes by arguing that the role of aesthetic experience, together with religion and metaphysics, is of vital service to civilization through its role in overcoming the corruption of consciousness. (shrink)

This work presents truth as an aesthetic value in Nietzsche's epistemic account of Western morals and scientific culture. An expression of Nietzsche's special, selective style as a deconstructive hermeneutic in and among texts and readers is offered to facilitate this reading. ;Nietzsche's claim that the world is Will to Power construes all events as mutually interpretive expressions. Where truth is determined as a perspectival expression, the Real must be thought to incorporate multiple truths reflecting its ambiguous, ambivalent abundance. ;The existing (...) tradition in the philosophy of science takes science to approximate ideal knowledge. As an interpretive position, science takes the measure of opposing perspectives: the efficacy of theory and computation testifies to the power of the scientific project. This project has its special advantage from the dynamic difference between evaluative structures seeking to overpower disparate perspectives. As the scientific focus is claimed to be exclusive, or accurate, it is a falsification. ;Beyond the computational efficiency which requires a life-denying , preservative life-orientation, Nietzsche moves towards a broader aesthetic: affirming life in its very chaotic ambivalence. As an active Will to Power, this expressive aesthetic opposes the reactive Will to Power of the ascetic aesthetic of science and religion. This is an uneven contest, for while the Will to Power can be active or reactive, the active will becomes reactive if it once encounters and resists--neither absorbing nor succumbing to--a reactive will. Given the insistent superiority of indigent Will to Power as a conservative, acquisitive will, the full possibility of a perspectival aesthetics of truth including an affirmative aesthetic is only rarely to be realised. This affirmative aesthetic articulates a life that is neither acquisitive nor fearful but purely expressive in the grand style. Finally, assumed from the perspective of such a grand style of life, the thought of the Eternal Return is prophylactic against the deadening rule of nihilism. (shrink)

Topology of fear : psychoanalysis, urban theory, and the space of phobia -- Pasolini and the ugliness of bodies -- Wounds of testimony and martyrs of the unconscious : Lacan and Pasolini contra the discourse of freedom -- A theater of subtractive extinction : Bene without Deleuze -- Giorgio Agamben's Franciscan ontology -- Christianity or communism? Zizek's Marxian Hegelianism and Hegelian Marxism -- The body of structural dialectic :Badiou, Lacan, and the "human animal".

Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory – the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend their own self-interest. (...) This conclusion represents an important alternative to the standard history of aesthetics as a series of preludes to the achievements of Immanuel Kant, as well as a reinterpretation of several canonical figures in the German and Scottish Enlightenments. It also offers a foundation for a transnational history of the Enlightenment without the French philosophes at its centre, while solidly endorsing historians' growing reluctance to call the Enlightenment a secularising movement. (shrink)

With the earliest known reference to angling with a fly dating from the Chou Dynasty, more than 2,300 years ago, it should come as no surprise that when asked to justify their passionate devotion to fly fishing, many anglers will refer to the rich and venerable literature the sport has generated. Ranging from Plutarch's references to Nile fishing in the Life of Antonius, to Pliny the Elder's Historia Naturalis, to the fifteenth century classic, Dame Julian Berner's The Treatyse of Fysshynge (...) wyth an Angle, to the sport's bible, the 17th century The Compleat Angler by Izaak Walton, to literary treatments in the work of authors such as John Donne, Gerard Manley Hopkins, William Butler Yeats, Ezra Pound and Ernest Hemingway, the wealth of literature devoted to fly fishing appears to be out of proportion to what is, ultimately, just a way of seducing an animal with a brain the size of a pea into inhaling a hook upon which some feathers, furs and tinsels have been lashed. What then, one may legitimately ask, is it about this sport that creates fanatical devotion on the part of its practitioners, who tend to regard it with such zeal and passion as is commonly reserved for art and religion? (shrink)

Reidar Thomte's Kierkegaard's Philosophy of Religion is an excellent read for students beginning their study of one of the greats of nineteenth and twentieth century philosophy. Thomte directly appropriates Kierkegaard's insightful language and discussion of the theological and philosophical issues that stimulated him, all of which are still alive and well today. This approach has the happy result that readers seeking an introduction do not have to be led through technical debates in order to approach Kierkegaard's thought. Thomte is (...) a master of incisive summary; his presentations of crucial distinctions are level-headed and to the point. Kierkegaard's categories such as the stages on life's way (the aesthetic, the ethical, Religiousness A, and Religiousness B), the individual, subjectivity, the Paradox, the varieties of love, faith and knowledge, etc., are provocative and illuminating. Not only is this book a good a starter, it is also a comprehensive review of the principal issues in Kierkegaard's philosophy of religion. (by Robert L. Perkins, Editor, International Kierkegaard Commentary). (shrink)

Walter Benjamin, Religion, and Aesthetics is an innovative attempt to reconceive the key concepts of religious studies through a reading with, and against, Walter Benjamin. Brent Plate deftly sifts through Benjamin's voluminous writings showing how his concepts of art, allegory, and experience undo traditional religious concepts such as myth, symbol, memory, narrative, creation, and redemption. Recasting religion as religious practice, as process and movement, Plate locates a Benjaminian materialist aesthetics, what the author calls an "allegorical (...) class='Hi'>aesthetics," in order to uncover sources and establish a new locus for the study of religion. Placing the concept of an allegorical aesthetics into practice, Plate offers examinations of aesthetic productions such as Daniel Libeskind's architecture and Marcel Duchamp's ready-mades alongside religious developments such as the Hindu Bhakti movement and Jewish Kabbalistic thought. Walter Benjamin, Religion, and Aesthetics will be necessary reading for those interested in religion and the arts, aesthetics, and material culture. (shrink)

A review of Simon Grote's The Emergence of Modern Aesthetic Theory cambridge university press. 2017. pp. 308. £75.00..

How can we best understand our aesthetic appreciation of sky and space? This essay begins by outlining the nature of spatial experience through some examples. Then it examines how our responses can be shaped by art and myth. Here we see how themes, such as ascension, that were current in prehistory and developed religions, can be reappropriated as components of a justifiable aesthetic experience. However, the task of finding defensible aesthetic responses to space as both experience and abstract idea does (...) present paradoxes. For example, how are we to respond to scientific updates about the ever greater vastness of space? The way forward presented here is to endorse, but not with any sense of uniqueness of misplaced grandeur, our freedom to contemplate with due seriousness both the near and the far and our own capacities, such as imagination and love, as also part of the wonder and mystery of the universe. (shrink)

This study is an important contribution to the intellectual history of Victorian England which examines the religio-aesthetic theories of some central writers of the time. Dr Fraser begins with a discussion of the aesthetic dimensions of Tractarian theology and then proceeds to the orthodox certainties of Hopkins' theory of inscape, Ruskin's and Arnold's moralistic criticism of literature and the visual arts, and Pater's and Wilde's faith in a religion of art. The author identifies significant cultural and historical conditions which (...) determined the interdependence of aesthetic and religious sensibility in the period. She argues that certain tensions in the thought of Wordsworth and Coleridge - tensions between poetry and religion, rebellion and reaction, individualism and authority - continued to manifest themselves throughout the Victorian age, and as society became increasingly democratic, religion in turn became increasingly personal and secular. (shrink)

Review of: Simon Grote, The Emergence of Modern Aesthetic Theory: Religion and Morality in Enlightenment Germany and Scotland, Cambridge University Press, 2017.

Thailand has a rich history of using aesthetics as a means of communication. This is seen not only in the communication of basic ideas, but aesthetics are also used to communicate the cultural values of the nation. Aesthetical images in Thailand have the tendency to dwell both in the realm of the mundane and the supernatural, in the daily and the esoteric. Historically, many faith traditions have used aesthetics as an effective form of communication, including Buddhism, Brahmanism, (...) as well as other local expressions of deities across the country. Art plays a large role in the daily communication of religious values and concepts. -/- While Christianity has a rather long history in Thailand, the large-scale impact that Christianity, and specifically Protestantism, has had is rather minimal. There can be a myriad of reasons for this, but one potential possibility is Christianity’s lack of an aesthetical engagement upon and within Thai culture. This potentially is not an issue of only the Protestant church in Thailand but also stems from some of the western Christian roots throughout its faith tradition. One finds a chasm between aesthetical practices and faith from the Heidelberg Confession, in which Christians became so worried about the ramifications of idol worship, that they threw out the proverbial ‘baby with the bathwater’ and basically condemned the use of icons and other forms of art in western Protestantism. -/- Therefore, this paper will examine the relationship between Thai culture and Christianity, trying to remove the western biases in Christianity and will attempt to suggest new ways that the Thai Christian Church may develop organic, indigenous Thai art, that can be used as a more effective means of communication. If Christianity wants to effectively convey its concepts into Thai culture, it must value aesthetics as a means of communication. Is it possible that Christianity could not only communicate a more effective message in Thailand, but also that Christianity could experience a more robust self-analyzation of its core concepts through Thai aesthetics? Therefore, one needs to explore the ways that Christianity may be able to better understand itself through current Thai aesthetical practices. These concepts will be explored to develop a more robust and organic way of communicating the Christian concepts through a Thai paradigm. (shrink)

While Hegel’s infamous “end of art” thesis states that art is “for us, a thing of the past” he insists that philosophy and, to a degree that is often underestimated by contemporary readers, religion endure within the structure of modern life. In this paper I aim to demonstrate how by focusing on Hegel’s claim that religion meets no end, we can come to a better understanding of how and why he thinks art does end. This will lead us (...) away from common, but false, picture of Hegel as being indifferent (or even hostile) to art’s sensuous mode of intelligibility. Inasmuch as religion remains both necessarily sensuous and a component of social life that realizes freedom and divinity within modernity, the “problem” with art cannot be its sensuousness per se. What art ultimately finds itself unable to do, and what religion can do, is find a way to reconcile the destabilizing force of individual, subjective freedom with a jointly-held representation of who and what we are and what we value most, what Hegel calls “divinity” (das Göttliche). By countenancing the vital role of religion in Hegel’s thought, we can therefore better understand one of his most famous, and least understood philosophical claims. (shrink)

When art develops to a certain extent, it is bound to be mixed with traces of religion, and art influenced by religion occupies an important position in the entire history of art development. Looking at the development history of Chinese and Western painting art, we can find that there are indeed many connections between religion and art. The spiritual transmission of religion is carried out using intuition through painting art, and its vital role is reflected in (...) the long history of human civilization. This paper studies the relationship between the philosophical fusion of the original aesthetics of Chinese and Western religious painting and contemporary painting by studying the development and characteristics of religious painting in China and the West. This paper studies the differences between Chinese and Western religious doctrines and how religious figure painting embodies divinity and secularized humanity in terms of painting methods and forms of expression. The study of the philosophical fusion of the original aesthetics of Chinese and Western religious paintings and its influence on contemporary paintings fills the gap in this aspect. (shrink)

Beyond Man offers models, methods, and new directions for the still nascent, long overdue conversation between philosophical studies of religion and critical studies of race and coloniality. The interdisciplinary contributors approach this work through philosophical, theological, historical, and aesthetic lenses. Euro-descended Christianity has historically defined itself by its Others while paradoxically claiming to represent and speak to humanity in its totality. The essays in Beyond Man disrupt the normative categories of religion and philosophy by rearranging presumptions about what (...) constitutes philosophy of religion. (shrink)

This paper revisits Moses Mendelssohn’s political theology through his early aesthetic writings, and in conjunction with his later writing on politics and religion, unearths a model of religious toleration that can respond to many contemporary critiques of tolerance, especially those which draw from Jacobi and Schmitt’s decisionist political theology.

This book-length treatment of Gy rgy Luk cs' major achievement, his Marxist aesthetic theories. Working from the thirty-one volumes of Luk cs' works and twelve separately published essays, speeches, and interviews, Bela Kiralyfalvi provides a full and systematic analysis for English-speaking readers. Following an introductory chapter on Luk cs' philosophical development, the book concentrates on the coherent Marxist aesthetics that became the basis for his mature literary criticism. The study includes an examination of Luk cs' Marxist philosophical premises; his (...) theory of the origin of art and the relationship of art to life, science, and religion; and his theory of artistic reflection and realism. Later chapters treat the concepts of type and totality in Luk cs' category of specialty, the distinctions between allegory and symbolism in his theory of the language of art, and Luk cs' understanding of aesthetic effect and form and content in art. There is a separate chapter on Luk cs' dramatic theory. This lucid and readable account of Luk cs' aesthetic theories will be of special interest to students of literature, aesthetics, and drama. In addition, it will be appreciated by those generally concerned with Marxist theory. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

A flop is a picture that mirror reverses the original scene. Some flops are reversed copies. For instance, mirror reversal is systematic with technologies that require contact between a template and an imprint surface. Other flops are just pictures that have undergone the operation of flopping. For example, a slide that is inserted backwards into a projector is a flop.

While considered by many as one of the greatest philosophers of religion and metaphysicians of the 20th century, Charles Hartshorne’s contributions to the study of aesthetics are perhaps the most neglected aspect of his extensive and highly nuanced thought. DIVINE BEAUTY offers the first detailed explication of Hartshorne’s aesthetic theory and its place within his theocentric philosophy.

Introductory essay / Peter Jones -- The usefulness of the arts and the humanities : the case of Descartes / Gábor Boros -- Roads of remembrance : the treatment of imagination and memory in Gerard's Essay on genius / Zsolt Komáromy -- Diderot's untimeliness / László Kisbali ; transl. Márton Dornbach -- Melody vs. harmony : Rousseau, or, The aesthetics of vowels / Mária Ludassy ; transl. Zsolt Komáromy -- Judgement and taste : from Shakespeare to Shaftesbury / Ferenc (...) Hörcher -- Lord Shaftesbury's "aesthetic freedom" / Endre Szécsényi -- Why one should imitate the Greeks : on Winckelmann / Sándor Radnóti ; transl. Márton Dornbach -- Beauty or beast, or, Monstrous regiments? : Robertson and Burke on women and the public scene / László Kontler -- The concept of nature and the theodicy problem in the Malebranche-Arnauld-Leibniz debate / Dániel Schmal -- Lessing's anti-candide : between reason and revelation / Krisztina Utasi ; transl. Márton Dornbach. (shrink)

[from the publisher's website] Questions about the existence and attributes of God form the subject matter of natural theology, which seeks to gain knowledge of the divine by relying on reason and experience of the world. Arguments in natural theology rely largely on intuitions and inferences that seem natural to us, occurring spontaneously—at the sight of a beautiful landscape, perhaps, or in wonderment at the complexity of the cosmos—even to a nonphilosopher. In this book, Helen De Cruz and Johan De (...) Smedt examine the cognitive origins of arguments in natural theology. They find that although natural theological arguments can be very sophisticated, they are rooted in everyday intuitions about purpose, causation, agency, and morality. Using evidence and theories from disciplines including the cognitive science of religion, evolutionary ethics, evolutionary aesthetics, and the cognitive science of testimony, they show that these intuitions emerge early in development and are a stable part of human cognition. -/- De Cruz and De Smedt analyze the cognitive underpinnings of five well-known arguments for the existence of God: the argument from design, the cosmological argument, the moral argument, the argument from beauty, and the argument from miracles. Finally, they consider whether the cognitive origins of these natural theological arguments should affect their rationality. (shrink)

In this broad historical and critical overview based on a lifetime of scholarship, James Alfred Martin, Jr., examines the development of the concepts of beauty and holiness as employed in theories of aesthetics and of religion. The injunction in the Book of Psalms to "worship the Lord in the beauty of holiness" addressed a tradition that has comprehended holiness primarily in terms of ethical righteousness--a conception that has strongly influenced Western understandings of religion. As the author points (...) out, however, the Greek forbears of Western thought, as well as many Eastern traditions, were and are more broadly concerned with the pursuit of beauty, truth, and goodness as ideals of human excellence, that is, with the "holiness of beauty." In this work Martin describes a philosophical stance that should prove to be most productive for the dialogue between aesthetics and religion. Beginning with the treatment of beauty and holiness in Hebrew, Greek, and classical Christian thought, the author traces the emergence of modern theories of aesthetics and religion in the Enlightenment. He then outlines the role of aesthetics in the theories of religion proposed by Otto, Eliade, van der Leeuw, and Tillich, in the cultural anthropology of Geertz, and in the thought of Santayana, Dewey, Whitehead, Heidegger, and Wittgenstein. In a global context Martin explores the relation of aesthetic theory to religious thought in the traditions of India, China, and Japan and concludes with reflections on the viability of modern aesthetic and religious theory in the light of contemporary cultural and methodological pluralism. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Vampire stories and folklores have originated from a range of sources; however, it is rather certain that the repulsive but attractive vampiric monster images in present popular culture are primarily derived from Anne Rice’s novel Interview with the Vampire. That being said, it was around the end of the eighteenth century that vampires first invaded the popular literary world, with literary vampires growing noticeably more powerful and perpetual than any of their monstrous predecessors in the years since the publication of (...) John Polidori’s successful short story The Vampyre in 1819. Due to associated aesthetic transformations, vampirism itself has become increasingly popular, to the extent that it now commands some followers who even worship vampiric rituals and lifestyles in spite of there being no solid, physical evidence of actual vampires, but rather only literary and imaginary examples of the creatures. In order to grasp how this fascination with vampires has turned into a quasi-religious phenomenon and ideology, a proper investigation of vampiric mechanisms and aesthetics should be empirical in nature. Utilizing Interview with the Vampire as an example due to its clearly substantial influence on current vampire imagery, this article examines how the paradoxical interchange between aversion and attraction plays its role in the visceral religion of the vampire-immersed world. (shrink)

This chapter contains sections titled: Works cited Additional recommended readings.

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comAnyone who follows the debates between religion and science will be instantly baited by the subject of this book and by the seductive terms of its title. This is a book about a well-worn topic which proposes to enter it through a little-worn door, the notion of mystery, for which the title’s (...) ‘excellent beauty’ turns out to be a more resplendent synonym. Setting out its stall at the heart of longstanding questions about the legitimacy of religious belief, its brief is to reclaim the notion of mystery in ways calculated to antagonize many of the interested parties. Pace a common religious conceit, mystery is not the exclusive preserve of religion. Pace a widespread scientific stance, mystery is not merely a shadowy station on... (shrink)

China's traditional religious music is deeply rooted in the folk life and labor. Studying the influence of Confucian music aesthetics on ancient religious music and the establishment of modern music aesthetics has an important influence and the significance of learning from it. Studying the music aesthetics of Confucianism in the pre-Qin period can scientifically inherit and carry forward the traditional ritual and music civilization, combine the essence of China's traditional religious music aesthetics with reality, and explore (...) the music theory that meets the needs of today and can promote the healthy development of society. As the most popular and in-depth art form, music plays an inestimable role in the growth of contemporary college students. Firstly, this paper expounds the relationship between Confucian music aesthetics and China's ancient traditional religious music art and puts forward that we should draw nutrition from China's ancient and profound culture to improve the artistic quality of contemporary college students. Then, from the angle of ethics, it explains the deep connotation of Pre-Qin Confucian musical aesthetics, and tries to sort out its ideological system logically, hoping to expand the research of Pre-Qin Confucian musical aesthetics. (shrink)

The theme of religious despair appears several times in Hegel’s philosophy. Each meaning differs from the preceding ones, but presupposes them. Gradually a totality of sense unfolds which remains latent in each instance taken singularly. The development is most clearly apparent in The Phenomenology of Spirit which presents the various moments of despair as following necessarily from the internal logic of the religious consciousness itself. That schema of development provides a framework for incorporating the descriptions in the Lectures on (...) class='Hi'>Aesthetics as well as those in the History of Philosophy, and, above all, the conclusion of Faith and Knowledge in which the famous expression, “God is dead,” first appears. One passage does not seem to fit into this logical development. The pessimistic evaluation of the modern age at the end of the 1821 lecture notes on the philosophy of religion does not follow from Christianity’s own principles, but rather moves directly against its “truth.” Nevertheless, as we shall see, even this deviation may be “justified” as a direct consequence of attitudes provoked by the Christian faith in its struggle with the Enlightenment. Precisely because of this final predicament Hegel presents his philosophy of spirit as a - hopefully temporary - refuge for religion from the outward and inward ravages of the Enlightenment, In the following paper I shall consider the four phases in which the despair of religion appears in the Phenomenology of Spirit and, by way of conclusion, briefly situate the final section of the 1821 lecture notes. (shrink)

This volume collects seventeen new essays by well-established and junior scholars on the philosophical relevance of metaxological philosophy and its main proponent, William Desmond. The volume mines metaxological thought for its salience in contemporary discussions in Continental philosophy, specifically in the fields of metaphysics, philosophy of religion, ethics, and aesthetics. Among others, topics under discussion include the goodness of being, the existence and nature of God, and the aesthetic dimensions of human becoming. Interest in metaxological philosophy has been (...) on the rise in recent years, and this volume provides both a practical introduction and thorough engagements with it by experts in the field. The volume concludes with a series of responses by William Desmond on the issues raised by the contributors. (shrink)

On 18–19 May 2018, a symposium was held in the Research Institute of Irish and Scottish Studies at the University of Aberdeen to commemorate the tenth anniversary of the death of Ronald W. Hepburn (1927–2008). The speakers at this event discussed Hepburn’s oeuvre from several perspectives. For this book, the collection of the revised versions of their talks has been supplemented by the papers of other scholars who were unable to attend the symposium itself. Thus this volume contains contributions from (...) eighteen notable scholars of different disciplines, ranging from contemporary aesthetics and art theory through to philosophical approaches to religion, education and social anthropology. It also includes a bibliography of Hepburn’s writings. The essays were first published in two special issues of the Journal of Scottish Thought, vols. 10–11 (2018–2019). -/- Ronald William Hepburn was born in Aberdeen on 16 March 1927. He went to Aberdeen Grammar School, then he graduated with an M.A. in Philosophy (1951) and obtained his doctorate from the University of Aberdeen (1955). His tutor at Aberdeen was Donald MacKinnon (1913– 1994), a Scottish philosopher and theologian, the author of A Study in Ethical Theory (1957) and The Problem of Metaphysics (1974). Hepburn taught as Lecturer at the Department of Moral Philosophy at Aberdeen (1956–60), and he was also Visiting Associate Professor of Philosophy at New York University (1959–60). He returned from the United States as Professor of Philosophy at Nottingham University. In 1964, he was appointed as a Chair in Philosophy at the University of Edinburgh and between 1965 and 1968 he was also Stanton Lecturer in the Philosophy of Religion at the University of Cambridge. From 1975 until his retirement in 1996, he held the Professorship of Moral Philosophy at Edinburgh. He died in Edinburgh on 23 December 2008. His philosophical interests ranged from theology and the philosophy of religion through moral philosophy and the philosophy of education to art theory and aesthetics. Notably, Hepburn is widely regarded as the founder of modern environmental and everyday aesthetics as a result of the influence of papers in the 1960s which pioneered a new approach to the aesthetics of the natural world. (shrink)

이 글은 미학, 윤리, 종교를 중심으로 비트겐슈타인과 키르케고르를 비교 연구한 논문 이다. 두 사상가에 대한 비교 연구는 이전에도 있었다. 그들은 문제를 해결하는 것이 아니 라 해소한다는 점에서, 간접전달이라는 방법론에서, 이성의 한계를 넘어서려는 인간 본성 에 대해서 그리고 자신들의 철학적 작업이 궁극적으로 올바른 삶을 지향한다는 점 등에서 일치한다. 본 논문은 이제까지 다뤄지지 않았던 미학, 윤리, 종교에 대한 두 사상가의 견 해를 비교한다. 이를 위해 2장에서는 두 사상가에 대한 이왕의 논의들을 주제별로 정리하 고, 3장에서는 키르케고르의 철학을 인간 실존 3단계를 중심으로 살펴본다. 키르케고르는 (...) 인간 실존을 심미적 단계, 윤리적 단계, 종교적 단계로 나눴으며, 인간은 가장 하위 단계 인 심미적 실존을 지나 윤리적 실존으로, 그리고 궁극적으로 종교적 실존으로 나아가야 한 다고 주장한다. 4장에서는 미학, 윤리, 종교에 대한 비트겐슈타인의 견해를 살펴본다. 주 지하듯이 비트겐슈타인의 사상은 전기와 후기로 나뉘며 그에 따라 미학, 윤리, 종교에 대 한 견해도 변화가 있다. 하지만 전후기에 걸쳐 이어지는 것도 있다. 이성적으로 접근할 수 없고, 가치에 대한 것이며 세계에 대한 태도로서 올바른 삶으로 인도한다는 점에서 비트겐 슈타인에게 미학, 윤리, 종교는 동일하다. 5장에서는 두 사상가의 미학, 윤리, 종교관을 비교한다. 비트겐슈타인은 키르케고르의 종교관에 깊이 공감했지만 미학이나 윤리에 대해 서는 견해를 달리하는데, 그 이유는 철학자의 임무에 대한 견해차에서 발견할 수 있을 것 이다. (shrink)

The philosophy of religion as presented by Hermann Cohen and Paul Natorp, the founders and main representatives of the Marburg School of Neo-Kantianism, is an important and at the same time controversial part of their philosophical systems. The discussion around the problems of religion began within the Marburg School and still continues among those who study that School. The reason for this is that “fitting” philosophical thinking about the phenomenon of religion into the classical triad of any (...) system of philosophy, i. e. effectively formulating that phenomenon in logical concepts, ethical postulates and aesthetic principles touched the very foundations of that system. Drawing mainly on the rough notes and correspondence of Cohen and Natorp I argue that, in spite of internal and quite important differences over the problems of religion and its place in philosophical constructions, Cohen and Natorp, first, retained their commitment to critical idealism and remained loyal to their philosophical school to the end and, second, followed the principle of mutual respect, preserving their professional and human sympathy for each other. Besides, I substantiate my assertion that Marburg Neo-Kantians had different concepts of the special place of religion in the system of philosophy. The specific nature of this difference warrants the discussion not only of the boundary of reason and rationality but adds new dimensions to that boundary, filling it with content and thus broadening the very sphere of critical idealism. In the course of the discussion of the problems of religion, Paul Natorp and Hermann Cohen stake a claim to projects for the serious transformation of philosophy which they tried to implement in their later works. (shrink)