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1
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.
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Cheetham, David. "Exploring the Aesthetic ‘Space’ for Inter-religious Encounter." Exchange 39, no. 1 (2010): 71–86. http://dx.doi.org/10.1163/016627410x12559405201199.
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AbstractThis exploratory paper sets out to engage in some preliminary considerations concerning aesthetics and the meeting of religions. Underlying some of the thinking in this paper is the debatable assumption that there can be a recognizable difference between religious and aesthetic kinds of experience. Thus, the arts might be able to create ‘worlds’ which are easier for those with religious commitments to enter than explicitly religious territories. Moreover, we can perhaps use aesthetics as a loose category (without theoretical elaboration) in order to find areas of enjoyable inter-religious aesthetic conversation. That is, there is just a ‘given-ness’ or ‘abundance’ about art and beauty that allows us to simply enjoy our experience of it and share it with others.
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Theissen, Gerd. "Religious Experience: Experience of Transparency and Resonance." Open Philosophy 2, no. 1 (December 31, 2019): 679–99. http://dx.doi.org/10.1515/opphil-2019-0051.
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AbstractAt a time in which religion is breaking away from the normative power of its traditions and new forms of spiritual experience are emerging, religious philosophy must find criteria for what a religious experience is and how to judge its truth. In their empirical critique of religion L. Wittgenstein and R. Carnap accepted two forms of religious experience, which they described with an optical and acoustic metaphor. They denied their cognitive truth value, but not their value for life. However, an extended concept of truth, which encompasses every correspondence between experience and reality, can also find truth in religious experiences of “transparency” and “resonance”. They differ from aesthetic experience not only by the depth of transparency and resonance, but also by their cognitive interpretation. What is experienced is cognitively referred to a final reality: either to a “summum ens” in this world, or to the whole of this world or something unknown beyond of this world. This final point of reference is a unity of “being” and “value”. Religion makes experiences of the everyday transparent for both aspects of an ultimate reality und motivates to a life full of resonance with this reality.
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Manshur, Fadlil Munawwar. "BEAUTY AND UGLINESS IN THE POETRY COLLECTION MAULĪDAL-DIBA' I BY ABDURRAHMAN AL-DIBA'I: A SIEGELIAN AESTHETICS PERSPECTIVE." Humanities & Social Sciences Reviews 8, no. 3 (June 15, 2020): 890–99. http://dx.doi.org/10.18510/hssr.2020.8393.
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Purpose: The formal objective of this study is to explore the beauty and ugliness contained within the poetry collection Maulīd Al-Diba'i, an Arabic-language text that conveys messages of beauty and ugliness in its verses. The material of this study is the poetry collection Maulīd Al-Diba'i, which was written by Imam Wajihuddin 'Abdur Rahman bin Muhammad bin 'Umar bin 'Ali bin Yusuf bin Ahmad bin 'Umar ad-Diba'ieasy-Syaibani al-Yamani az-Zabidiasy-Syafi'i (henceforth Abdur Rahman Al-Diba'i).
Methodology: The current research is descriptive that explains the crux of poetry. For this purpose the poetry collection Maulīd Al-Diba' I was used and analysed. To achieve the objective analytical method was used.
.Main Findings: Based on the analysis, it may be concluded that the poetry collection Maulīd Al-Diba'i is a work of Arabic-language Islamic literature that was influenced by the verses of the Qur'an and their beauty. The verses of Maulīd Al-Diba'i are conveyed through the language of prayers, hopes, and blessings. These prayers, hopes, and blessings contain within them their beauty, both at the surface and below it. The poet, Abdurrahman Al-Diba'i, readily conveys his prayers, hopes, and blessings by briefly retelling the story of the Prophet Muhammad's travels to spread Islam throughout the Arabian Peninsula.
Implications/Applications: This article applies the theory of aesthetic realism, which contains within it two key concepts: physical beauty and divine beauty. Physical beauty is related to the perceptions of the senses, and is cognitive, cultural, and natural, whereas divine beauty is perceived through the mind and promotes awareness and mental experience.
Novelty/Originality of this study: This research will uncover the facts that on what basis, in the poetry collection Maulīd Al-Diba'i, is there a dominant message of beauty that is expressed explicitly and opposed with a message of ugliness that is expressed implicitly. It will also add to literature explaining that the text Maulīd Al-Diba'i may be understood as a tool for satisfying the spiritual demands of readers and enabling them to contemplate their religion.
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Hickey-Moody and Willcox. "Entanglements of Difference as Community Togetherness: Faith, Art and Feminism." Social Sciences 8, no. 9 (September 18, 2019): 264. http://dx.doi.org/10.3390/socsci8090264.
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Using a feminist, new materialist frame to activate ethico-political research exploring religion and gender at a community level both on Instagram and in arts workshops, we show how sharing ethnic backgrounds, religious beliefs, gender identities and sexualities through art practice entangles a diffraction of differences as ‘togetherness’. Such entanglement creates cross-cultural interfaith understandings and gender diverse acceptance and inclusion online. We use diffraction, intra-action and entanglement as a way of framing our understanding of this ‘togetherness’ and show that human feelings rely on more-than-human assemblages; they rely on homelands, countries, wars, places of worship, orientations, attractions, aesthetics, art and objects of attachment. The feelings of ‘community’ and ‘belonging’ that we discuss are therefore direct products of human and non-human interactions, which we explore through arts-based research. In this article, we apply Karen Barad’s feminist new materialist theories of ‘diffraction’, ‘intra-action’ and ‘entanglement’ to ways of thinking about human experience as intra-acting with aspects of the world that we classify as non-human. We use these new materialist frames to reconceptualize the human feelings of ‘community’, ‘belonging’ and ‘what really matters’ in feminist and intra-religious collaborative art practices and Instagram-based art communities. To better understand and encourage communities of difference, we argue that the feelings of ‘community’ and ‘belonging’, which are central to human subjectivity and experience, are produced by more-than-human assemblages and are central to identity. The methodologies we present are community focused, intra-active, arts-based research strategies for interrogating and understanding expressions of ‘community’ and ‘belonging’. We identify how creative methods are a significant and useful way of knowing about communities and argue that they are important because they are grounded in being with communities, showing that the specificity of their materiality needs to be considered.
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Louw, Daniël J. "Creative Hope and Imagination in a Practical Theology of Aesthetic (Artistic) Reason." Religion and Theology 8, no. 3-4 (2001): 327–44. http://dx.doi.org/10.1163/157430101x00152.
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AbstractIn order to take Kant's third question seriously, practical theology should respond methodologically to the question: What may we hope? The hypothesis is argued that practical reason needs to be supplemented by aesthetic reason in order to deal with 'the absurd logic of hope' (Ricoeur). The latter can prevent a practical theological hermeneutics falling prey to a positivistic stance and an empirical model which makes little room for the spiritual dimension of the sublime and personal experiences of transcendence. While the theoretical reason posits 'the other' as object (analysis and objectification), aesthetic reason establishes between God and human beings a personal relationship of identification (synthesis and interconnectedness) which is sensitive to awe and surprise. Furthermore, it is argued that aesthetics is a vital component in liturgy. Art describes a dynamic relation between form and content, celebration and faith, and belief, experience and transcendence. These dynamics are established through imagination and creative hope. Applied to the problem of God-images, aesthetic reason should deal with the 'beauty of God' in terms of vulnerability (deformation) as depicted in the notion of a suffering God. To instil hope, the metaphor 'God as Partner for Life' is proposed.
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Wessels, W. "Justice and Beauty in South African Homiletics: A Postcolonial Contribution of Improvisation and Creativity." Acta Theologica Supp, no. 29 (November 30, 2020): 176–94. http://dx.doi.org/10.18820/23099089/actat.sup29.10.
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In recent South African homiletics, two major themes have experienced overwhelming attention: prophetic preaching and aesthetics. Prophetic preaching endeavours to seek social, political, and economic justice. Aesthetic homiletics considers beauty for preaching. In this article, I grapple with the convergences and divergences of justice and beauty in South African homiletics. With the hope of opening new avenues for future endeavours, I also reflect on both prophetic preaching and aesthetic homiletics from a post-colonial perspective.
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Vasko, Elisabeth. "Redeeming Beauty? Christa and the Displacement of Women’s Bodies in Theological Aesthetic Discourses." Feminist Theology 21, no. 2 (December 17, 2012): 195–208. http://dx.doi.org/10.1177/0966735012464151.
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This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic feminist representation, Christa exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation.
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Rush, Fred. "Hegel, Humour, and the Ends of Art." Hegel Bulletin 31, no. 02 (2010): 1–22. http://dx.doi.org/10.1017/s0263523200000033.
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Art plays a fundamental role in Hegel's mature systematic philosophy, one of three principal forms of what Hegel terms ‘absolute spirit’, that is, a primary way in which humans cognize their nature and its role in the world (HW 10: 366-67). Notwithstanding this, Hegel's philosophy of art has received less attention than have his philosophy of religion, political philosophy, or philosophy of history, all of which were mainstays in the debates between the rival schools of Hegelianism directly after Hegel's death, and each of which exercised considerable authority in the nineteenth and twentieth centuries. There were no Right or Left Hegelians on questions of art. Of course, this is not to say that Hegel's philosophy of history and conception of dialectical reason did not have decisive impact on the founding of systematic art history and on the philosophy of art in the humanistic Marxism of Lukács, Adorno and Marcuse, but his specific views on aesthetics and the nature and history of the various arts were much less influential. If one were to broaden the scope of influence to include artists, Hegel is hardly worth mentioning next to figures like Schopenhauer and Nietzsche.Do Hegel's specific views on art have purchase nowadays? One set of doctrines has received a good deal of attention, at least among philosophers of art: Hegel's claim that art has ‘ended’. Much commentary focuses on Hegel's contentions that (A) the art of Attic Greece was the primary way for that culture to experience their form of life as binding, and that (B) art after a point in that culture can never play that role again, at least not progressively.
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Deibl, Jakob Helmut. "Sacred Architecture and Public Space under the Conditions of a New Visibility of Religion." Religions 11, no. 8 (July 23, 2020): 379. http://dx.doi.org/10.3390/rel11080379.
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Embedded in the paradigm of the “New Visibility of Religion,” this article addresses the question of the significance of sacred buildings for public spaces. ‘Visibility’ is conceived as religion’s presence in cities through the medium of architecture. In maintaining sacred buildings in cities, religions expose themselves to the conditions of how cities work. They cannot avoid questions such as how to counteract the tendency of public space to erode. Following some preliminary remarks on the “New Visibility of Religion,” I examine selected sacred buildings in Vienna. Next, I focus on the motifs of the city, the “ark” as a model for sacred buildings and the aesthetic dimension of public space. Finally, I consider the contribution of sacred buildings to contemporary public spaces. What is at issue is not the subject that moves in public and visits sacred buildings with the aim of acquiring knowledge or with the urgency to act, but rather the subject that feels and experiences itself in its dealings with public space and sacred buildings. In this context, I refer to the experience of disinterested beauty (Kant), anachronism, multi-perspectivity (Klaus Heinrich), and openness (Hans-Dieter Bahr).
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Chia, Roland. "Theological Aesthetics or Aesthetic Theology? Some Reflections on the Theology of Hans Urs von Balthasar." Scottish Journal of Theology 49, no. 1 (February 1996): 75–95. http://dx.doi.org/10.1017/s0036930600036619.
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The theology of Hans Urs von Balthasar can be described as an attempt to provide an exposition of a verse in one of Gerard Manley Hopkin's most memorable poems in which the Jesuit poet declared that ‘The world is charged with the grandeur of God’. This verse, and indeed the poem as a whole, affirms the Christian's cosmic experience of God. Just as the mythological view of the relationship between god and the world is that the world is a sacred theophany, the world is, for the Christian, the theophany of God's glory and beauty.
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Barrie, Thomas. "Architecture of the World’s Major Religions." Brill Research Perspectives in Religion and the Arts 3, no. 4 (August 19, 2020): 1–107. http://dx.doi.org/10.1163/24688878-12340010.
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Abstract In Architecture of the World’s Major Religions: An Essay on Themes, Differences, and Similarities, religious architecture is presented and explained in ways that challenge predominant presumptions regarding its aesthetic, formal, spatial, and scenographic elements. Two positions frame its narrative: religious architecture is an amalgam of aesthetic, social, political, cultural, economic, and doctrinal elements; and these elements are materialized in often very different ways in the world’s principal religions. Central to the essay’s theoretical approaches is the communicative and discursive agency of religious architecture, and the multisensory and ritual spaces it provides to create and deliver content. Subsequently, mythical and scriptural foundations, and symbols of ecclesiastical and political power are of equal interest to formal organizations of thresholds, paths, courts, and centers, and celestial and geometric alignments. Moreover, it is equally concerned with the aesthetic—visual and material cultures and the transcendent realms they were designed to evoke, as it is with the kinesthetic—the dynamic and multisensory experience of place and the tangible experiences of the body’s interactions with architecture.
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Samarina, Tatyana. "Phenomenology of Religion and Sense of the Infinite." Logos et Praxis, no. 4 (February 2019): 5–11. http://dx.doi.org/10.15688/lp.jvolsu.2018.4.1.
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The article discusses the role of F. Schleiermacher in the design of the project of the religion phenomenology. Schleiermacher's philosophical theory is a complex fusion of Lutheran theology, modern philosophy and the movement of romanticism. His thinking reflected the borderline situation in the intellectual life of the XVIII– XIX centuries. It resultedin creation of a new image of religion, responded to the spirit of the times. Schleiermacher opposes the deistic teachings, showing that religion is an integral part of human life; it is not rooted in the rational conception of God the creator, but in the inner feeling. Even before the development of phenomenologists, he pointed out that inner feeling is at the heart of religion: by eliminating any moral and rational aspects of religion, Schleiermacher laid the foundation for the well-known numinous R. Otto equation. Schleiermacher's attitude to both the dogmatic and the ritual side of religion was extremely negative, since personal religiosity does not need an external church, in fact a person who has infinitely grasped stands outside the church rituals, because he is the legislator of his own inner religion of feeling. Schleiermacher is one of the first theorists of religious pluralism who formed the most important position of the future science of religion: the comparison of religions is possible, since the religion of feeling common for all mankind made it permissible to search for a single basis of religion and build a large system of religious phenomena united by common principles and implied or actually existing center. According to Schleiermacher, religious experience can also be described in the language of art, since religious experience and aesthetic experience are similar in their basis. Only an experience of the feeling of the infinite can give a person a taste of the religious, and this idea is likely to have the key thought of empathy to the religion phenomenology. Separately, some clauses of Schleiermacher's theory, which were not developed in the writings of religion phenomenologists, are examined in the article.
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Severino, Valerio S. "Reconfiguring Nationalism: The Roll Call of the Fallen Soldiers (1800–2001)." Journal of Religion in Europe 10, no. 1-2 (May 12, 2017): 16–43. http://dx.doi.org/10.1163/18748929-01002002.
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Devastating tragedies, such as the 9/11 terrorist attacks or the massacre during the Polish protests of 1970, are still commemorated with a roll call of the victims’ names, which is publicly pronounced. As a matter of civil or political religion, this ritual is studied by political scientists and sociologists and restricted to a specific national context. For the first time, a comparative method of history of religions is applied in order to retrace the transnational diffusion of this nationalist ritual from the Napoleonic era, passing through the fascist European experience, to the present day. The changing of the aesthetic forms in which the ritual took and takes shape, by producing images of the community gathered, outlines an aesthetic realization of ‘imagined communities.’ This outline will be examined with reference to Benedict Anderson’s theory on the origin and spread of nationalism.
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Felix-Jager, Steven. "Inspiration and Discernment in Pentecostal Aesthetics." Journal of Pentecostal Theology 23, no. 1 (April 3, 2014): 85–104. http://dx.doi.org/10.1163/17455251-02301009.
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This article attempts to define what an artist’s ‘interior promptings’ or inspirations are and to understand the role of the Holy Spirit in artistic inspiration and discernment. In so doing, divine inspiration is defined broadly so as to make room for artistic inspiration. This article also considers how the Holy Spirit influences human imaginations through experience and how inspirations are derived from these experiences. Different ways to understand religious and cultural worldviews are also examined. The concept of ‘seeing’ is considered to understand the Pentecostal agenda as attempting to cause a transformative paradigm shift in a person’s worldview. Finally, this article engages in dialogue with Pentecostal theologian Amos Yong in order to look at spiritual discernment and answer the question, ‘Does the Holy Spirit inspire art in other religious or secular traditions?’
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Milton, Grace. "When art disrupts religion: aesthetic experience and the evangelical mind." Practical Theology 11, no. 2 (March 15, 2018): 195–97. http://dx.doi.org/10.1080/1756073x.2018.1459122.
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Darling, Kay. "When Art Disrupts Religion: Aesthetic Experience and the Evangelical Mind." Journal of Religious & Theological Information 17, no. 2 (March 14, 2018): 74–75. http://dx.doi.org/10.1080/10477845.2017.1398579.
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Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.
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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work helped stimulate Wach's early thinking about the relationship between religious experience and the theoretical, practical, and institutional expressions of that experience. Indeed, throughout his own scholarly writings Wach displays an irrepressible tendency toward combining religionswissenschaflich theorizing with aesthetic reflection, and toward encompassing literary, musical, and other artistic examples within the scope of data to be considered by scholars of religion. This article analyzes the development of that tendency in Wach's scholarship, paying special attention finally to his notion of the modern Western "emancipation of art" from religious influence. This notion, while reflecting a general optimism that characterizes his view of the diversifying, developmental course of numerous other religious and cultural phenomena over time, may ultimately be too strong or reductive for describing what has actually occurred over the past several centuries in the relation between artistic and religious phenomena.
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Leonard, Garry. "Religion And Aesthetic Experience In Joyce And Yeats by Tudor Balinisteanu." James Joyce Quarterly 54, no. 3-4 (2017): 428–34. http://dx.doi.org/10.1353/jjq.2017.0014.
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Venable, Hannah Lyn. "The Weight of Bodily Presence in Art and Liturgy." Religions 12, no. 3 (March 3, 2021): 164. http://dx.doi.org/10.3390/rel12030164.
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This essay addresses the question of virtual church, particularly on whether or not liturgy can be done virtually. We will approach our subject from a somewhat unusual perspective by looking to types of aesthetic experiences which we have been doing “virtually” for a long time. By exploring how we experience art in virtual and physical contexts, we gain insight into the corresponding experiences in liturgical practices. Drawing on Mikel Dufrenne, Maurice Merleau-Ponty and Gabriel Marcel, I first examine the importance of the body when we experience “presence” in aesthetic environments. Next, I consider the weight of the body in experiences of presence in liturgical practices, both in person and virtual, guided again by Gabriel Marcel as well as Bruce Ellis Benson, Emmanuel Falque, Christina Gschwandtner and Éric Palazzo. Through these reflections, I argue that what art teaches us about the significance of the physical closeness of the human applies to the practice of liturgy and that, while unexpected benefits will surface in virtual settings, nothing replaces the powerful experiences that arise when the body is physically present.
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Fletcher, Frank. "Towards a Dialogue with Traditional Aboriginal Religion." Pacifica: Australasian Theological Studies 9, no. 2 (June 1996): 164–74. http://dx.doi.org/10.1177/1030570x9600900204.
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To prepare ourselves as westerners for a dialogue with the traditional Aboriginal religion will demand an ability to “pass over” to what is clearly quite a different mentality. There are two obstacles to this “passing over”. First, where westerners have predominantly developed the intentionality mediation of meaning, Aborigines developed the symbolic or aesthetic mediation of meaning. Secondly, the profoundly metaphorical or aesthetic cast of Aboriginal mentality and their religious experience of cosmic manifestations is at odds with western outlook. The Aboriginal religion should be accepted within the tradition of kataphatic manifestation. This understanding should help us accept that the sacred mystery should be approached as intra-cosmic Immanence as well as meta-cosmic Transcendence.
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Choi, Ki Joo. "The Deliberative Practices of Aesthetic Experience." Journal of the Society of Christian Ethics 29, no. 1 (2009): 193–218. http://dx.doi.org/10.5840/jsce200929136.
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Daiber, Karl-Fritz. "La religion dans le roman feuilleton allemand." Social Compass 34, no. 1 (February 1987): 109–29. http://dx.doi.org/10.1177/003776868703400108.
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The Author studies the mode of appearance of religion in the popular, serialized, German novel. Through the different versions of this literary genre (sentimental novel, medical novel, regional history, western...) the analysis permits the discovery of a functio nal, lived experience comparable to the religious experience habi tually investigated by the social sciences with the aid of other indicators. « Trivial religion » with this light shed upon it seems to corres pond rather well to aesthetic or philosophical needs for security, the very simple structure of which accord with the role of the con sumer as individual.
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Gramit, David. "The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department." Canadian University Music Review 19, no. 1 (March 8, 2013): 19–33. http://dx.doi.org/10.7202/1014603ar.
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This paper argues that a number of recent responses within North American musicology to critical scholarship that has challenged disciplinary conventions have in common a deep loyalty to the aesthetic experience of music as a supreme value. The vigour with which this value is defended has close parallels in religion, and such defences have indeed sometimes resorted to explicitly religious terminology. The institutional situation of North American musicology in university music departments dominated by Western classical music instruction strengthens this ideology, which continues to resist socially oriented study of music.
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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (November 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.
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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.
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Holm, Henrik. "Augustine on Religious Education as Aesthetic Experience." Religious Education 116, no. 4 (May 6, 2021): 341–54. http://dx.doi.org/10.1080/00344087.2021.1922024.
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Proudfoot, Wayne. "From Theology to a Science of Religions: Jonathan Edwards and William James on Religious Affections." Harvard Theological Review 82, no. 2 (April 1989): 149–68. http://dx.doi.org/10.1017/s0017816000016096.
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In a volume of speeches published in 1799 and addressed to those whom he called “the cultured among the despisers of religion,” Friedrich Schleiermacher offered a description of religious experience, doctrine, and practice designed to convince his readers that the conventional pieties they deplored in the churches and synagogues were not genuine religion. Instead, true religion was the sense and taste for the infinite that they themselves were cultivating in poetry, criticism, conversation, and other aesthetic pursuits of their romantic circle. He was especially concerned to allay their fears that religious beliefs might conflict with the growth of knowledge about the world of nature or the mind. “Religion,” he wrote, “leaves you, your physics and … also your psychology untouched.”
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Zhang, Sarah. "Lyrical Slippage, Meaning-Making, and Proximity in Song 2:10-13." Biblical Interpretation 27, no. 1 (March 11, 2019): 20–35. http://dx.doi.org/10.1163/15685152-00271p02.
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Abstract Where does lyric significance happen? With recent interdisciplinary studies from the fields of aesthetics and neuroscience offering support to Emmanuel Levinas’s idea of proximity, I propose that proximity is the maternal body of lyrical meaning. In this paper, I will illustrate the case by unpacking the mental processing of the lyrical imageries in Song 2:10–13, and highlight two aspects of proximity along the way. First, the perception of lyrical imagery is more complex than a representational correspondence between the word and the world. It covers the stages from the verbal cues to multisensory imageries, to evoked synaesthetic experiences, to accompanied feelings and provoked actions. Cognitively it is best described as one’s approximation toward the core semantic sense of the verbal cues, which is diversified by the reader’s embodied minds. Second, at the root of the aesthetic experience is one’s sense of self, which is susceptible to the intrigue of alterity. One’s reception of lyrical imageries in Song 2:10–13 can be characterized as an over-abundant synaesthetic experience. It directs one’s attention to an anterior receptivity embedded in subjectivity by way of the excess of the sensing over the semantic, and the sensed over the sensing. This reduction to the baseline level of function, or the sheer sensation of oneself, beckons the lyrical subject to become aware of one’s a prior proximity to alterity. In brief, while the readers’ individualized approximations preclude a verifiable universal reception, they do not warrant the kind of hermeneutic violence that overrides the text with the readers’ contexts. Rather, by being awakened to one’s susceptibility to the otherness of the poem, the lyrical subject realizes that proximity is the ethical precondition in making sense of the poem and oneself.
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Fritz, Martin. "Hallische Avantgarde. Die Erfindung der Ästhetik und die Ästhetisierung des Christentums." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 21, no. 1-2 (January 15, 2014): 1–27. http://dx.doi.org/10.1515/znth-2015-0001.
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AbstractAvantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for intensive religious experiences through such „aestheticization.“ The romantic idea of „Kunstreligion“ (art religion), which continues to be significant in cultural life today, is also based on this programmatic notion of aestheticization. Building on this historical background, this article’s concluding systematic considerations argue for a theological revaluation of pertinent contemporary cultural phenomena.
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Persoon, Joachim. "The Planting of the Tabot on European Soil: The Trajectory of Ethiopian Orthodox Involvement with the European Continent." Studies in World Christianity 16, no. 3 (December 2010): 320–40. http://dx.doi.org/10.3366/swc.2010.0107.
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This article relates the concept of the tabot, the central symbol of divine presence in the Ethiopian Orthodox Church to the European Diaspora experience. The tabot represents the arc of the covenant in Solomon's Temple, and is likewise associated with Noah's arc. Thus the Church is conceptualised as facilitating the traversing of the ‘ocean of troubles’ to reach the ‘safe haven’ of the divine presence. This is experienced in an especially intense way in the diaspora context. Beginning with the concept of diaspora the article gives an overview of the history of the establishment of Ethiopian Orthodox churches in Europe and explores related trajectories. The Church is experienced as a place of memories, and is also a place where the sojourner can feel at home and belong. It facilitates preserving identity and culture, re-creating morals and values, and through aesthetics creates a hermeneutic frame of experience, satisfying the ‘fourth hunger’.
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Plate, S. Brent. "What the Book Arts Can Teach Us About Sacred Texts." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 1-2 (August 19, 2017): 5–25. http://dx.doi.org/10.1558/post.32516.
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Religion and art became separated in the modern age, or so the secularized story goes. But looking at a history of books, including their artistic creation, we find interesting ongoing parallels occurring between religious and artistic texts. Illustrations and scripts, bindings and papers, printmaking and performance, all serve artistic and religious ends. The artistic and the religious are tied together, ultimately, by appealing to the senses, bringing texts and reading into the realm of the aesthetic (Gk. aesthetikos: pertaining to sense perception). Books are powerful and enjoyable as well as dangerous and condemned, because they are felt, seen, tasted, heard, and touched. By looking at contemporary “book arts” and noting their sensual affects, we can understand “sacred texts” in better ways. Ultimately we find modern secular arts are not so far from religious experiences. Examples come from modern book artists such as John Latham, Brian Dettmer, Luigi Serafini, Meg Hitchcock, and Guy Laramée.
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Magliocco, Sabina. "Witchcraft as Political Resistance." Nova Religio 23, no. 4 (April 15, 2020): 43–68. http://dx.doi.org/10.1525/nr.2020.23.4.43.
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The use of political magic is one of the remarkable and unexpected cultural features to emerge from the 2016 presidential election in the United States. Using a combination of digital and face-to-face ethnography, this article explores the emergence of a movement dedicated to resisting the Donald Trump administration through witchcraft and magic. Applying the lens of Italian ethnologist Ernesto de Martino, it argues that the 2016 election created a “crisis of presence” for many left-leaning Americans who experienced it as a failure of agency. Their turn to magic was in response to feelings of anxiety and helplessness. Drawing from the approach of anthropologist James C. Scott, it analyzes magic as an art of resistance, an aesthetic, performative, as well as political response. Finally, it examines the fissures within the magical resistance as clashes in ethics, aesthetics, and beliefs associated with magic came to the fore, effectively splintering the magic resistance movement and rendering it less effective.
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Hioki, Naoko Frances. "Tea Ceremony as a Space for Interreligious Dialogue." Exchange 42, no. 2 (2013): 125–42. http://dx.doi.org/10.1163/1572543x-12341260.
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Abstract This paper explores the potential of Japanese tea ceremony to be an aesthetic space for inter-religious dialogue. Through a study of historical encounters that took place between European Jesuit missionaries and Japanese tea masters in the late 16th century, this paper elucidates the missionaries’ experiences of tea ceremonies and discusses the validity and limitation of a tea house as a space for cross-cultural and interreligious dialogue. The fruit of tea ceremony in terms of interreligious dialogue includes a shared sense of aesthetic communion that is attained through communal enjoyment of the beauty of nature and drinking a cup of tea in an isolated tea house, where guests are invited to cast away worries of everyday business, as well as their social and religious differences; whereas its limitation pertains to marked indifference toward verbal communication that is characteristic to the way of tea, and thus the historical missionaries’ experience was limited to aesthetic paradigm and did not lead to logical understanding of doctrinal differences between Buddhists and Christians.
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Kloppers, W. C. "Ervaringsgeoriënteerde geloofsoordrag: geloofwaardige waarheid." Verbum et Ecclesia 24, no. 1 (October 15, 2003): 104–12. http://dx.doi.org/10.4102/ve.v24i1.315.
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The central question in a theological communication theory is the mediation between tradition and experience. How can the reality of God and the reality of human beings be connected on the level of experience? The transmission of the Christian faith is about the mediation of a symbolic reality, meant to bring about spiritual experience and experience of meaning. Not only the cognitive dimension, but the affective, emotive, conative, aesthetic and social dimensions have to play an active role. The communication of faith on all levels of experience is thus a sine qua non for theologians and educators of religion. The challenge for theology is to recognize ways in which experience-driven religious education can be practised.
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Yang, Sunggu. "Homiletical aesthetics: A paradigmatic proposal for a holistic experience of preaching." Theology Today 73, no. 4 (January 2017): 364–77. http://dx.doi.org/10.1177/0040573616669563.
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The article is a proposal for a paradigmatic change in homiletical pedagogy. In North America today, most homiletical training at the seminary or divinity school is either text-driven or know-how-driven (or, at times, topic-driven). Thus, the homiletical training focuses on (1) how to exposit a text for a key topic, (2) how to structure a sermon, (3) how to deliver a message, and (4) how to analyze the text-driven sermon. While admitting the usefulness of this current textual or know-how pedagogy, the article suggests the addition of a holistic-aesthetic component of preaching, which I will later call numen-participatory education or a numinous pedagogy of preaching. This proposed pedagogical paradigm has two great advantages that the ecclesial situation today demands: (1) the spiritual formation of the preacher and (2) the holistic-aesthetic and multisensory exposition and experience of the text both by the preacher and the audience.
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Sett, Alisha, and Kajri Jain. "What Renders the Master’s House Unrecognizable? An Interview with Kajri Jain." Master, Vol. 5, no. 2 (2020): 96–105. http://dx.doi.org/10.47659/m9.096.int.
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I spoke with Kajri Jain over Zoom during the early days of the pandemic in 2020. Our conversation began with a discussion of her early fieldwork in the bazaars in India, probing into Jain’s own education and formative experiences. It then detoured into a critical unpacking of art history’s “sacred cows’, the need to fundamentally rethink the discipline’s deep intertwining with colonialism, and the many forms of baggage that non-Western art historians must carry on their shoulders. Jain’s suspicion of medium specific approaches led to a productive dialogue about anthropologist Michael Taussig’s work, theory fetishism, and several facets of contemporary photography in South Asia. We agreed about the need to continue to critique an elitist discourse that misunderstands the importance of religion, and the embedded nature of caste, in any reading of aesthetics and mass culture in the subcontinent. Ending with the question of how to decolonize, provincialize and globalize when engaged in pedagogy, Jain left us with much to contemplate. Keywords: visual anthropology, art history and decolonialization, Indian aesthetics, secularism and religion
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Brown, David. "Context and Experiencing the Sacred." Royal Institute of Philosophy Supplement 79 (October 2016): 117–32. http://dx.doi.org/10.1017/s1358246116000102.
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AbstractThis essay considers how far the original sacred context of a painting or other artefact should be acknowledged in modern galleries and museums. It is argued that such institutions should be concerned with rather more than the fostering of aesthetic experience. An educational role is also important, and this entails that, although nothing should be done to encourage religion, contextualizing painting and artefact will also open up the possibility for concomitant religious experience. Although various formal distinctions are noted, the argument is conducted by means of a large number of specific examples.
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Bychkov, Victor. "The Russian Symbolist Viacheslav Ivanov on Aesthetic Experience as Religious." Religions 12, no. 2 (January 21, 2021): 68. http://dx.doi.org/10.3390/rel12020068.
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Viacheslav Ivanov (1866, Moscow–1949, Rome) is one of the most prominent Russian symbolist poets and a leading theorist of symbolism at the beginning of the twentieth century. The article demonstrates that Ivanov understood art (and, more broadly, aesthetic experience) as one of the most effective forms of contact between the human being and the spiritual world, as well as with its first cause. Ivanov distinguishes between three “aesthetic principles” of the universe, which all together constitute “the beautiful”—the sublime, beauty, and the chaotic—and links them to the three stages of being of the artist in the process of creative activity. The artist first passes through the chthonian, subconscious stage of demonic chaos. Next, artists undergo the process of ascent into the ideal, spiritual sphere, where they gain experience, which cannot be expressed in words. After that, the process of the descent of the artist towards the earth takes place, where artists attempt to express in the form of artistic symbols the experience that they have acquired. Ivanov sees the artistic symbol as a materially given structure, which nevertheless cannot be described in words. This structure not only expresses a spiritual essence, but also really and energetically manifests it. Hence, Ivanov sees the creator of high, symbolic art (“realist symbolism”) as an artist-theurge (theurgy is the art of the future, of the future mystery on the basis of a synthesis of the arts that receives divine assistance), who contributes to the augmentation of being. For the recipient, the artistic symbol is anagogical (from the Greek ἀναγογή, “leading up”). It leads one up from the real world to a more real one (a realibus ad realiora). According to Ivanov, both the symbol and its content, myth, are of divine origin; they are “embodiments of the divine truth.” Therefore, high art is one of the principal ways of one’s ascent to spiritual reality by means of sensory reality.
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Siedell, Daniel. "Enrique Martinez Celaya's Thing and Deception: The Artistic Practice of Belief." Religion and the Arts 10, no. 1 (2006): 59–88. http://dx.doi.org/10.1163/156852906776520227.
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AbstractEnrique Martinez Celaya's art brings to mind Wittgenstein's observation that "I am not a religious man but I cannot help seeing everything from a religious point of view." This essay explores Martinez Celaya's religious point of view through an in-depth analysis of a single painting, Thing and Deception, which depicts a gigantic chocolate Easter bunny wrapped in a veil with the statement "Needed Proof " inscribed below the image. Thing and Deception incarnates. It incarnates art and it incarnates belief. The power of art relies on the belief that smelly oils, rough canvas, graphite marks, and other banal materials can provide a profound aesthetic experience. Can this image be a vehicle for a profound aesthetic experience? Can a painting of an Easter bunny be a "religious" or a "spiritual" painting? Thing and Deception narrows the gap between belief and unbelief, banal and profound, art and religion, sacred and secular, truth and superstition, revealing each to be two sides of the same precious coin.
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Almond, Brenda. "Idealism and Religion in the Philosophy of T.L.S. Sprigge." Philosophy 85, no. 4 (September 15, 2010): 531–49. http://dx.doi.org/10.1017/s0031819110000410.
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AbstractAlthough T.L.S. Sprigge described idealist philosophy as the stage beyond religion, his pantheistic idealism, while not itself a religion, offers a conception of God that seeks to meet the aspiration of human beings to understand their own place in the universe. While he shared with most mid twentieth century British philosophers a basic assumption of the primacy of experience, Sprigge took this strong empiricist assumption in a Berkeleyian rather than a Humean direction. This enabled him to find a place for the phenomenon of religious consciousness, which he saw as the source of a yearning that can be met by absolute idealism's conception of a ‘Whole’ that encompasses ourselves and all aspects of our world. He describes this recognition as the faltering adumbration of a truth – one that is sometimes encountered in aesthetic experience, and sometimes more directly in the lives of mystics. The metaphysical basis for this form of absolute idealism is provided by a concept of time in which each fleeting ‘now’ has a fixed and permanent place, and by a theory of identity according to which personal individuality is dissolved in a unitary ‘Whole’.
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Lee, Kibeom, Michael C. Ashton, Yannick Griep, and Michael Edmonds. "Personality, Religion, and Politics: An Investigation in 33 Countries." European Journal of Personality 32, no. 2 (March 2018): 100–115. http://dx.doi.org/10.1002/per.2142.
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The relations of HEXACO personality factors and religiosity with political orientation were examined in responses collected online from participants in 33 countries ( N = 141 492). Endorsement of a right–wing political orientation was negatively associated with Honesty–Humility and Openness to Experience and positively associated with religiosity. The strength of these associations varied widely across countries, such that the religiosity–politics correlations were stronger in more religious countries, whereas the personality–politics correlations were stronger in more developed countries. We also investigated the utility of the narrower traits (i.e. facets) that define the HEXACO factors. The Altruism facet (interstitially located between the Honesty–Humility, Agreeableness, and Emotionality axes) was negatively associated with right–wing political orientation, but religiosity was found to suppress this relationship, especially in religious countries. In addition to Altruism, the Greed Avoidance and Modesty facets of the Honesty–Humility factor and the Unconventionality and Aesthetic Appreciation facets of the Openness to Experience factor were also negatively associated with right–wing political orientation. We discuss the utility of examining facet–level personality traits, along with religiosity, in research on the individual difference correlates of political orientation. Copyright © 2018 European Association of Personality Psychology