Academic literature on the topic 'Experience (Religion) Aesthetics'
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Journal articles on the topic "Experience (Religion) Aesthetics"
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Laack, Isabel, Esther-Maria Guggenmos, and Sebastian Schüler. "Agency and the Senses in the Context of Museality from the Perspective of Aesthetics of Religion." Journal of Religion in Europe 4, no. 1 (2011): 102–33. http://dx.doi.org/10.1163/187489210x553511.
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AbstractThe aim of this paper is to apply the perspective of aesthetics of religion to the context of museality, focusing on notions of the agent and the senses. After sketching different roles of agency in the field of museality and suggesting some theoretically interesting links to research on European history of religions, the notion of agency will be extended to aesthetic, sensual, bodily, cognitive, and other aspects of experience, perception, sense-making, and interpretation of objects and media in the context of museality. Furthermore, questions of how specific cultural and religious sense hierarchies affect the interaction of agents with museality are raised. Finally, the insights gained are applied to a discussion of the analytical value of the concept of 'museality.'
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Kuletin-Ćulafić, Irena. "From the Big Mac and Ikea society to the environmental aesthetics, smart cities and storytelling architecture." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 441–62. http://dx.doi.org/10.5937/saj1903441k.
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Our global society is encountering different challenges of the twentyfirst century. Our cities are in the process of constant transformation influenced by urbanisation, globalisation, advanced technologies, environmental and ecological changes, social, political and economic crises. While corporative capitalism has flourished, world population is growing and our cities are sprawling, architecture is reaching almost utopian visions and the boundaries of aesthetics are becoming more and more loose and permeable. Today our contemporary society lives and acts aesthetically. From art, architecture, music, religion, politics, communication, technological gadgets, homes, gardens, clothes, cuisine to sport and life coaching, everything is a subject to aesthetical consideration. Aesthetical consideration of architecture and urbanism in a constantly changing world demands critical and interactive approaches, that will not only deal with theoretical aesthetic opinions, but also the practical ones. Accordingly, this paper seeks to discuss aesthetical problems of contemporary architecture and urban planning from global, environmental, technological and social points of view. Nature is no longer seen as a paradigmatic object of aesthetic experience, but as our unique collective environment upon which we humans depend. Therefore architecture emerges etic and aesthetic approaches in order to reconsider burden of our cities and possible ways of their future development.
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Ulrich, Michael. "An Unexpected Overlap between Civil Religion and Consumption: The Unseen Role of Conscious Commodity Design." Journal of Religion in Europe 10, no. 1-2 (May 12, 2017): 218–39. http://dx.doi.org/10.1163/18748929-01002008.
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This paper argues that the societally homogenising function attributed to civil religion possibly has, at least in parts, been assumed by conscious commodity design. Inasmuch as conscious commodity design helps to promote consumption, it is argued, it is potentially conducive to the achievement of a satisfactory level of economic growth, which is considered a national goal in many countries. In this trajectory of argumentation, the role played by aesthetics, or, more specifically, by the consumer’s aesthetic experience therein is moved to the foreground and explored with a small socio-empirical experiment. Based on the findings, a thesis regarding the normative power of conscious commodity design with respect to a normalising of sensory orders in consumers is formulated. Its implications for consumer judgement, notably limiting and determining the consumer’s reality-making, are discussed.
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Kugele, Jens, Maud Jahn, and Johannes Quack. "Memory, Religion and Museal Spaces." Journal of Religion in Europe 4, no. 1 (2011): 134–56. http://dx.doi.org/10.1163/187489210x553539.
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AbstractFor centuries, nativity scenes have been used to illustrate, teach, and commemorate central biblical stories in a tangible display. Oscillating between public crib exhibitions at the museum and crib displays in private homes, the dynamics between individual and collective re-narration, re-construction, re-experience, and re-membering lead to the construction of a collective memory within specific political contexts. The article suggests the term 'museality' as a heuristic tool to capture the vivid interdependences of museal spaces within and beyond the museum as a cultural institution. The construction, decoration, arrangement, and display of crib scenes are a complex example of such museal spaces. Beyond the institutionalised Christian tradition, nativity scenes have their place in the larger context of the European history of religion and invite future research within the analytical framework of the aesthetics of religion.
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Rogers, Dylan Kelby. "Water Culture in Roman Society." Brill Research Perspectives in Ancient History 1, no. 1 (March 16, 2018): 1–118. http://dx.doi.org/10.1163/25425374-12340001.
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Abstract Water played an important part of ancient Roman life, from providing necessary drinking water, supplying bath complexes, to flowing in large-scale public fountains. The Roman culture of water was seen throughout the Roman Empire, although it was certainly not monolithic and it could come in a variety of scales and forms, based on climatic and social conditions of different areas. This discussion seeks to define ‘water culture’ in Roman society by examining literary, epigraphic, and archaeological evidence, while understanding modern trends in scholarship related to the study of Roman water. The culture of water can be demonstrated through expressions of power, aesthetics, and spectacle. Further there was a shared experience of water in the empire that could be expressed through religion, landscape, and water’s role in cultures of consumption and pleasure.
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Gielarowski, Andrzej. "Mistyka i życie Relacja religijna w fenomenologii Michela Henry’ego." Argument: Biannual Philosophical Journal 9, no. 2 (June 26, 2020): 303–16. http://dx.doi.org/10.24917/20841043.9.2.8.
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Mysticism and life. Religious relationship in Michel Henry’s phenomenologyThis article discusses the concept of mysticism in the phenomenology of Michel Henry, which involves the relationship of life and the living, as set against two opposing views on the connection of life to the living: Arthur Schopenhauer’s naturalistic philosophy of life and the religious doctrine of Master Eckhart. In the first approach, life is identical with the will to live, a natural force inherent to everything that is alive. In the other one, life is identified with the Christian God (infinite or absolute life), encompassing all individual livings and constituting the foundation for all creation existing out of him. Hermeneutic analyses carried out in the article consider those texts by Michel Henry which comment on the works of Master Eckhart and Schopenhauer and provide for his own interpretations of them. They aim to show that Henry’s thought involves the religious understanding of mysticism as pertaining to the connection of life and the living identified with the relationship of God (absolute life) and humans (finite life). Moreover, the mysticism of life should be distinguished from Schopenhauer’s naturalistic metaphysics of life, while its main inspiration are the Christian teachings of Master Eckhart, therefore the former may be considered as one of the interpretations of the latter. Irrespective of its Christian background, Henry’s thought can be also of interest to non‑Christians, as it presents a way of accessing (absolute) life through the experience of a living body (French: chair) underlying self‑affectivity, largely forgotten in modern times but which can be revived by communing with art, because aesthetic experience is one of the forms of feeling one’s own being. In Henry’s thought, aesthetics, ethics and religion are closely interrelated, providing an effective remedy for the contemporary cultural crisis.
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Mellquist Lehto, Heather. "Designing Secularity at Sarang Church." Journal of Korean Studies 25, no. 2 (October 1, 2020): 429–54. http://dx.doi.org/10.1215/07311613-8552071.
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Abstract The Sarang Global Ministry Center (SGMC) in Seoul, South Korea, is well known for its architectural design and for several controversies surrounding its construction. The SGMC does not have conventional Christian architectural features, such as a steeple or stone facade; instead, the church resembles a luxury department store. Reactions to this building have been mixed, reflecting differing opinions about Christianity in South Korea. Some value the fact that the building’s aesthetics blend Christian activities with everyday life outside the church. Others criticize the building’s corporate appearance, citing it as evidence that Sarang Church is “just a business.” While the way religion is permitted to operate in South Korean secular society is partially defined by legal principles, such as the separation of church and state and state neutrality toward religion, secularism also entails an active configuration of the social order through lived experience. Secularity both constitutes and is constituted by the materiality of religious space, which disputes over the SGMC design make clear. Considering varied responses to the SGMC building project, this article highlights how church architecture, city planning, and consumer capitalism participate in the shaping of Korean Protestant Christianity and how it manifests within South Korea’s secular social and political order.
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Cucarella-Ramon, Vicent. "The Aesthetics of Healing in the Sacredness of the African American Female’s Bible: Zora Neale Hurston’s Moses, Man of the Mountain." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 69. http://dx.doi.org/10.14198/raei.2016.29.04.
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Zora Neale Hurston’s Moses, Man of the Mountain (1939) stands in the tradition of African American use of the biblical musings that aims to relativize and yet uphold a new version of the sacred story under the gaze of a black woman that manipulates and admonishes the characters of the gospel to offer a feminist side of the Bible. The novel discloses Hurston’s mastering of the aesthetics that black folklore infused to the African American cultural experience and her accommodation to bring to the fore the needed voice of black women. Rejecting the role of religion as a reductive mode of social protest, the novel extends its jeremiadic ethos and evolves into a black feminist manifesto in which a world without women equates disruption and instability. Hurston showcases the importance of an inclusive and ethic sacred femininity to reclaim a new type of womanhood both socially and aesthetically. Three decades before the post-colonial era, Hurston’s bold representation of the sacred femininity recasts the jeremiad tradition to pin down notions of humanitarianism, social justice and the recognition of politics of art. All in all, in an era of a manly social protest literature Hurston opts for portraying the folkloric aesthetics of spirituality as creative agency simply to acknowledge the leadership of the sacred femininity that black women could remodel into art.
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Alma, Hans. "Art and Religion as Invitation. An Exploration Based on John Dewey’s Theory of Experience and Imagination." Perichoresis 18, no. 3 (July 1, 2020): 33–45. http://dx.doi.org/10.2478/perc-2020-0015.
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AbstractIn this essay, the relation between art and religion is explored using the concepts experience and imagination as understood by the American philosopher John Dewey. In Dewey’s view, experience involves both the experiencer and the experienced: it is a phenomenon of the in-between. When we are really touched by what we meet in interacting with our physical and social surroundings, experience acquires an aesthetic quality that opens us to the value and the potential of what we perceive. We can see the factual in light of the possible, thus enriching it with new layers of meaning. We experience this as resonance between us and the world. It is the work of the imagination. Due to their imaginative capacity, humans can aspire to a ‘good life’. This aspiration is discussed in terms of invitation and response. Can we experience ourselves as being invited to respond to this unruly world with attachment and care? Here art and religion come into play. Art is understood as the domain of the possible: it explores the world behind or beyond what we usually accept as fact. An aesthetic experience acquires religious quality when it evokes in us an ideal that guides our sense of self and world, stimulating us to realize our ideals in daily actions. If inspired by imagination, art and religion may evoke intense experiences of resonance and invite us to new ways of connecting and transformative action. This is explored with the help of a hermeneutical circle, a ‘cycle of imagination’.
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Åhman, Henrik. "The aesthetic turn: exploring the religious dimensions of digital technology." Approaching Religion 6, no. 2 (December 14, 2016): 156–63. http://dx.doi.org/10.30664/ar.67600.
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The arena for developing digital technology has undergone an aesthetic turn, broadening the focus from a functionalist approach producing centralized systems in the 1970s and 1980s to an increased awareness of the aesthetic aspects of the individual user’s interaction with technology in the 1990s and 2000s. Within the academic research fields studying digital technology (e.g. Human-Computer Interaction and Interaction Design) the aesthetic turn has resulted in a shift from a strong emphasis on user behaviour to an increased interest in aesthetic perspectives on the role of the designer, the design process, and the design material. Within these fields, aesthetics has often been interpreted as belonging to the realm of the individual; personal experiences such as pleasure, engagement, and emotions have been emphasized in both technology development and technology research. Aesthetics is not, however, only an individual phenomenon but also has relational and structural components that need to be acknowledged. Structural aspects of aesthetics condition the possibilities for individuals interacting with digital technology. Thus, the tension between individual and relational aspects of aesthetics in digital technology also reflects a tension between freedom and limitation; between change and permanence; between destabilizing and stabilizing forces.Such a broadened understanding of aesthetics offers a model of digital technology that roughly corresponds to Mark C. Taylor’s definition of religion. Taylor argues that religion is constituted by, on the one hand, a figuring moment characterized by structural stability and universality, and, on the other hand, a disfiguring moment characterized by disruption, particularity, and change. The purpose of this paper is to discuss the aesthetic turn and Taylor’s definition of religion to illustrate similarities between the two, suggesting possible religious dimensions of digital technology and how that can inform our understanding of people’s interaction with digital technology.
Dissertations / Theses on the topic "Experience (Religion) Aesthetics"
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Bennett-Hunter, Guy Andrew. "Ineffability and religious experience : a philosophical study." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/252237.
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The notion of ineffability (of that which is, in principle, resistant to conceptual formulation and therefore literal linguistic articulation) has been largely ignored by philosophers. The notion is clearly a central one in the Christian mystical tradition and in more recent apophatic theological developments. Mid-twentieth-century philosophical discussions of mysticism invoked the idea and a number of phenomenologists share a sense that the meaningful human world is answerable to some 'background' that is inarticulable and mysterious. But, despite this, the logical implications of the notion of ineffability for religious experience, language and practice have not been explicitly and systematically thought through. This thesis, restricted to a dual focus on twentieth-century and contemporary philosophy and on the Christian religion, attempts to address this neglect. After reviewing the philosophical, and some theological, literature on the notion of ineffability in religion, this thesis identifies a philosophical tension between the notions of 'ineffability' and 'answerability', between the idea that the ineffable is beyond conceptualization and that some kind of experience, language or practice connected with it is required if the notion is to be meaningfully invoked, let alone (as in a religious context) serve as the measure for the meaning of the human world. In this connexion, the meaning of the word 'God' is interpreted as a reference to the concept of ineffability. A recent philosophical defence of the concept is endorsed which, rooted in existential phenomenology and Heidegger's later philosophy, resolves this tension. The detail of theological attempts, by Paul Tillich and John Macquarrie, to accommodate this line of thought as directly inherited from the phenomenologists (especially Heidegger) is examined and criticized, as, eventually, is a more promising theological possibility represented by the neglected philosophy of Karl Jaspers. The rational status of existential phenomenology (its relation to discourse conditioned by the subject-object dichotomy) is examined more closely in the light of the latter criticism. It is concluded that phenomenology's specifically philosophical way of evoking the ineffable is necessarily that of a rationally-based dialectic. The final chapter points to spheres outside philosophy, aesthetic and ritual, which cultivate the experience of the ineffable without such dialectic. It offers an 'aesthetic account of ritual meaning' and concludes by showing how the Eucharistic rite can be philosophically understood as a vehicle for religious experience and expression - the evocation and invocation of the ineffable God.
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Evans, Marcus. "Shinto: An Experience of Being at Home in the World With Nature and With Others." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1343.
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This study discloses Shinto’s experiential and existential significance and aims to articulate Shinto’s sacred objective. It shows that Shinto, by way of experience, communicates being in the world with nature and with others as a sacred objective. This suggests that Shinto, in communicating its objective, appeals to the emotions more so than to the intellect; and that Shinto’s sacred objective does not transcend the natural world of both nature and everyday affairs. This study pursues this goal by showing the experiential and existential dimensions of the three primary features of Shinto: it shows how kami (or kami-ness) is thought of as an awe producing quality of being/s that are mostly associated with the natural world; how Shinto shrines’ aesthetics and atmosphere are thought to evoke a feeling of the natural world’s sacredness; and how festivals are thought to be ecstatic and effervescent occasions that regenerate an affirmation of being in the world with others. Though this study does not employ a strict methodological approach—insofar as the conclusions herein are based primarily on literature review—it was motivated by an existential outlook on the study of religion and assumes that the term “religion” refers primarily to an existential phenomenon that pertains not necessarily to socio-historical institutions but to a way of being in the world.
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Fleischaker, Mary Frances. "Sacred bridges, holy play a study of the contemplative function of the arts in liturgical worship /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Keener, Anne M. "The Reality of the Unseen." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404930395.
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Wyatt, Nicholas. "The Christian image and contemporary British painting : the communication of meaning and experience in religious paintings." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17679.
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My research uses my painting practice as an experimental and investigative tool to test the capacity of practical aesthetics to generate similar or analogous experiences to the non-dualist reception aesthetics of certain key examples of post-Tridentine (1563) Catholic Counter-Reformation devotional imagery, particularly, The Ecstasy of St. Theresa (1647-1652) by Gian Lorenzo Bernini and the Incarnation (1596-1600) by El Greco. I apply an interpretative method to the development of Christian imagery within painting in the post-Reformation period and its relationship to the economic system of modern capitalism and the Enlightenment aesthetic of the sublime. My research aims to see what, if any, meanings and experiences, which, I believe, were present in the affective aesthetics of certain Counter-Reformation imagery can, through the contemporary aesthetics of my painting practice, be reconstructed or re-generated again as similar experience to those original pre-Enlightenment non-dualist meanings and experiences. The experience I aim to generate in my paintings is an affective and experiential narrative of presence, - Eliot's 'unity of thought, feeling and action', which I argue is found in the meaning and experience of those key Christian devotional images.
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Boareto, José Antonio. "A onda do momento: um estudo sobre a experiência dos jovens adeptos da Bola de Neve Church." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/1813.
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The object of story of this work is the youth adeptto the Bola de Neve Church. Through the approach of their experiences, we try to stablish a link to the studies in Science of Religion, with a respective from the instituting instend of the institution. The field search and the interdiscplinar analysis are being the basis to offer clues to an understanding of this youth religious phenomenom. The challenge of locating it within the Brazilian Religious Field leads us to elaborate another necessary concept to describe it: neo-tribalism-pentecostal . The delimitation for the study are the thoughts on neopentecostalism as seen in Ricardo Mariano and neo-tribalism as seen in Michel Maffesoli. The experiences of the young ones are analysed through three references: conversion, aesthetics and religious experience; from the perspective of Rodney Stark, Edin Abumanssur and Luiz Felipe Pondé respectives. Considering this concept, ing offer an understandient key to the tribal characteristics of church as teenfagic and pledge of the emergengy of the savage sacred , and second to the thought of Roger Bastide acting as an orixá servant
O objeto de estudo deste trabalho são os jovens adeptos da Bola de Neve Church. Procuramos aproximar de suas experiências e com isto corroborar com os estudos em Ciências da Religião numa perspectiva de análise partindo do instituinte ao invés da instituição. Através da pesquisa de campo e da análise interdisciplinar oferecemos pistas para uma compreensão deste fenômeno religioso juvenil. O desafio de localizá-lo dentro do Campo Religioso Brasileiro faz com que elaboremos outra conceituação necessária para descrevê-lo: neo-tribalismo-pentecostal. As delimitações para o estudo são os pensamentos sobre neopentecostalismo como visto em Ricardo Mariano e neo-tribalismo como visto em Michel Maffesoli. A experiência dos jovens é analisada através de três referências: conversão, estética e experiência religiosa; da perspectiva de Rodney Stark, Edin Abumanssur e Luiz Felipe Pondé respectivamente. Considerando este conceito, oferece-se uma chave de compreensão para as características tribais da igreja como teenfágica e propiciadora da emergência do sagrado selvagem, e segundo o pensamento de Roger Bastide atuando como uma serva dos orixás
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Kloppers, Elizabeth Catharina. "Liturgiese musiek as kommunikatiewe handeling in 'n post-moderne era." Thesis, 1997. http://hdl.handle.net/10500/17103.
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Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel.Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word.
Philosophy, Practical & Systematic Theology
D. Th. (Practical Theory)
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Pacheco, Maria Isabel da Costa Reis Monteiro. "O Plano de Criação. Ontologia da diferença e estética das intensidades em Gilles Deleuze." Doctoral thesis, 2013. http://hdl.handle.net/10362/43204.
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Não é possível isolar em Deleuze a problematização filosófica da estética no conjunto de uma obra que une, consistentemente, filosofia e arte, estabelecendo a sua singularidade numa fabricação incessante de relações na fractalidade dos planos. Tomamos como linha condutora de aproximação à obra a ideia de construção de um plano próprio de criação no qual o acto criativo encontraria as suas condições de potência, considerando, do lado da criação, a expressão estética e, do lado do próprio, o fulcro de uma ontologia. Neste plano de imanência coexistem o próprio do pensamento, da criação e da sensibilidade com o engendramento simultâneo dos processos singulares e das entidades dele resultantes. O engendramento do plano não é separável do processo da criação nas condições da experiência real. Deleuze recusou toda a espécie de transcendência afirmando a imanência própria de um plano de criação, desfazendo as formas organizadas sujeito, autor, consciência, percepção, representação em prol de um regime de experimentação que emerge do sub-representativo e que corresponde à transformação estética da experiência. O nosso trabalho pretende segui-lo na composição da paisagem de uma outra imagem do pensamento não separável de uma sensibilidade a engendrar a múltiplas velocidades, arrostando a criação do que designou por novas condições perceptivas, porque, finalmente, é na ultrapassagem dos limiares perceptivos extensivos, a favor da compreensão em intensidade, que o plano de imanência se traça, como condição de toda a experimentação estética.We cannot possibly isolate in Deleuze the philosophical questioning of aesthetics from the ensemble of a work that consistently unit art and philosophy, establishing his singularity in a non-stoppable fabrication of relations in the fractal variety of the planes. We take as a guide line for the approach of his work the idea of the construction of a proper plane of creation in which the creative act would meet his conditions of potency, considering, from the point of view of creation, the aesthetical expression and, from what belongs to the proper , the fulcrum of his ontology. On that plane of immanence coexists the proper of thought, of creation, and of the sensibility with the simultaneous engendering of singular processes and of the entities they produce. The engendering of the plane cannot be separated from the process of creation in the conditions of its real experience. Deleuze refused every transcendent form claiming the proper immanence of a plane of creation, des-constructing organised forms as the subject, the author, the conscience, the perception or the representation for the benefit of a regimen of experimentation that emerges from the subrepresentative and corresponds to the aesthetical transformation of experience. Our work aims to follow him in the making of the landscape for a different image of thought that cannot be set apart from a sensibility generated at different rates, which produces new perceptive conditions, because, finally, it is in the overcoming of perceptive thresholds, in favour of intensive comprehension, that the immanence plane is drawn, as a condition of every aesthetical experimentation.
Books on the topic "Experience (Religion) Aesthetics"
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Religion and aesthetic experience in Joyce and Yeats. New York, NY: Palgrave Macmillan, 2015.
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Mitchell, Louis Joseph. Jonathan Edwards on the experience of beauty. Princeton, N.J: Princeton Theological Seminary, 2003.
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Schoonheid is uw naam: Essay over esthetische en religieuze ervaring. Leuven: Acco, 1997.
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Blackpentecostal breath: The aesthetics of possibility. New York: Fordham University Press, 2017.
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Balinisteanu, Tudor. Religion and Aesthetic Experience in Joyce and Yeats. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137434777.
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Hanich, Julian. The Structures of the Film Experience by Jean-Pierre Meunier: Historical Assessments and Phenomenological Expansions. Amsterdam: Amsterdam University Press, 2019.
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1958-, Herrmann Jörg, Mertin Andreas 1958-, and Valtink Eveline, eds. Die Gegenwart der Kunst: Ästhetische und religiöse Erfahrung heute. München: W. Fink, 1998.
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Jones, Granville H. Henry James's Psychology of Experience: Innocence, Responsibility, and Renunciation in the Fiction of Henry James. De Gruyter, Inc., 2019.
Find full textBook chapters on the topic "Experience (Religion) Aesthetics"
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Brown, Frank Burch. "Varieties of Religious Aesthetic Experience." In Religious Aesthetics, 112–35. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-10021-7_5.
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Hick, John. "Ethical and Aesthetic Meaning and Experience." In An Interpretation of Religion, 144–52. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230510678_9.
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Hick, John. "Ethical and Aesthetic Meaning and Experience." In An Interpretation of Religion, 144–52. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1057/9780230371286_9.
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Hartshorne, Charles. "The Aesthetic Dimensions of Religious Experience." In Logic, God and Metaphysics, 9–18. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-2670-0_2.
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Balinisteanu, Tudor. "Aesthetic Experience, Religion, and Economic Materialism in Yeats." In Religion and Aesthetic Experience in Joyce and Yeats, 117–42. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137434777_5.
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Balinisteanu, Tudor. "Aesthetic Experience, Religion, and Economic Materialism in Joyce." In Religion and Aesthetic Experience in Joyce and Yeats, 143–68. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137434777_6.
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Balinisteanu, Tudor. "Sorel’s Social Myth, Aesthetico-Religious Experience, and Economic Materialism." In Religion and Aesthetic Experience in Joyce and Yeats, 169–87. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137434777_7.
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Ward, Graham. "Theology and Aesthetics: Religious Experience and the Textual Sublime." In Theology and Contemporary Critical Theory, 120–59. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230378957_4.
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Ward, Graham. "Theology and Aesthetics: Religious Experience and the Textual Sublime." In Theology and Contemporary Critical Theory, 120–59. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230599055_4.
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Balinisteanu, Tudor. "Conclusion: Art and Life Rhythms." In Religion and Aesthetic Experience in Joyce and Yeats, 188–96. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137434777_8.
Full textConference papers on the topic "Experience (Religion) Aesthetics"
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Delplancq, Véronique, Ana Maria Costa, Cristina Amaro Costa, Emília Coutinho, Isabel Oliveira, José Pereira, Patricia Lopez Garcia, et al. "STORYTELLING AND DIGITAL ART AS A MEANS TO IMPROVE MULTILINGUAL SKILLS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end073.
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The use of storytelling and digital art as tools to understand a migrant family’s life path will be in the center of an innovative methodology that will ensure the acquisition of multilingual skills and the development of plurilingual awareness, reinforcing the various dimensions of language (aesthetic and emotional, in addition to cognitive), in a creative, collaborative and interdisciplinary work environment. This is especially important among students who are not likely to receive further language training. It is not yet clear how teachers can explore multilingual experiences of learners, both in terms of language learning dimensions but also related with the multiple cognitive connections and representations, as well as to the awareness of language diversity. The JASM (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) project involves a group of students of the 1st cycle in Media Studies, from the School of Education of Viseu, who will work using photography, digital art and cultural communication, collecting information pertaining to diversified cultural and linguistic contexts of the city of Viseu (Beira Alta, Portugal), both in French and English, centered on a tradition or ritual of a migrant family. Based on an interview, students write the story (in French and English) of the life of migrants and use photography to highlight the most relevant aspect of the migrant’s family life. Using as a starting point an object associated with religion, tradition or a ritual, students create an animated film, in both languages. This approach will allow the exploration of culture and digital scenography, integrating in an innovative interdisciplinary pathway, digital art, multilingual skills and multicultural awareness. Students’ learning progress and teacher roles are assessed during this process, using tests from the beginning to the end of the project.