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1
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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Scruton, Roger. Judaism as an æsthetic experience. [Toronto, Ont: s.n., 2000.
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7
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- y 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.
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11
Guyer, Paul. Reason and Experience in Mendelssohn and Kant. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850335.001.0001.
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This work examines the lifelong intellectual relationship between Immanuel Kant (1724–1804) and Moses Mendelssohn (1729–86). Both engaged in a common project of striking the right balance between rationalism and empiricism, they sometimes borrowed from one another, often disagreed with one another, and can usefully be compared even when they did not directly interact. Their arguments and conclusions on metaphysical issues such as proofs of the existence of God, immortality, and idealism are examined; their works in aesthetics are compared; and the path-breaking work of both on the “religion of reason” and the separation of church and state are contrasted. Both philosophers turn out to have much to offer: Kant sometimes provides deeper insight into the underlying structure of human thought, but Mendelssohn is often the deeper student of the variety of human experience.
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Iseminger, Gary. Aesthetic Experience. Editado por Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0005.
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This article surveys attempts by aestheticians writing in the Anglo-American analytic tradition during the last half of the twentieth century to clarify, defend, and use the idea of a distinctively aesthetic state of mind. Their ambitions typically include most or all of the following: giving an account of what distinguishes the aesthetic state of mind from other states of mind that are like it in some ways, such as sensual pleasure or drug-induced experience, or from those connected with other realms of human concern, such as the religious, the cognitive, the practical, and the moral; giving that account in a way that appeals neither to any prior idea of the aesthetic nor to the concept of art; explaining related ideas of the distinctively aesthetic, e.g. the ideas of aesthetic properties, qualities, aspects, or concepts, of the aesthetic object, of the aesthetic judgement, and of aesthetic value, in terms of the idea of the distinctively aesthetic state of mind; and defending some more or less close connection between the realm of the aesthetic thereby explained and the realm of art, while recognizing that the aesthetic state of mind may appropriately be directed towards or grounded in non-art (e.g. nature) as well.
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When Art Disrupts Religion: Aesthetic Experience and the Evangelical Mind. Oxford: Oxford, 2016.
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Kirwan, James. Coleridge on Beauty. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0004.
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Chapter 3 examines Coleridge’s analysis of beauty in the ‘Principles of Genial Criticism’ (1814), which aimed to establish a religious dimension to aesthetic experience. Coleridge’s argument is traced through his Kantian account of aesthetic judgement, and his assertion of unity-in-multiplicity as the formal condition of beauty, to his grounding beauty in that which is ‘pre-configured’ to our faculties. Coleridge’s depends on eighteenth-century aesthetic axioms, despite deliberately avoiding explicit reference to such accounts, electing Plotinus instead as a precursor. It is suggested that Coleridge is therefore reluctant to explain aesthetic experience in purely psychological and, potentially, exclusively naturalistic terms. The appeal to Plotinus’s traditional notion of beauty as the soul’s recognition of its divine origin grounds aesthetic experience in religion. Concomitantly, in Coleridge’s reassertion of the claims of religion in the wake of the Enlightenment, aesthetic experience as contemplation of the world as it is becomes proof of the existence of the divine.
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Siglind, Bruhn, ed. Voicing the ineffable: Musical representations of religious experience. Hillsdale, NY: Pendragon Press, 2002.
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God After Metaphysics: A Theological Aesthetic (Indiana Series in the Philosophy of Religion). Indiana University Press, 2007.
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Voicing the Ineffable: Musical Representations of Religious Experience (Interplay (Hillsdale, N.Y.), No. 3.). Pendragon Press, 2002.
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Lecourt, Sebastian. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812494.003.0001.
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The introductory chapter sketches the emergence of the anthropology of religion over the eighteenth and nineteenth centuries. Reading this history through the lens of recent scholarship on secularization, it explores how different anthropological constructions of religion came to underpin competing understandings of modernity itself. It then traces how specifically liberal views of religion in Britain diverged during the 1860s around what one might call the split between political and aesthetic liberalisms: the liberalism of abstract individualism and the liberalism of intellectual free play and diverse experiences. The Victorian period saw these two liberalisms first part ways over the normative nature of religion and what kind of subjectivity it defined.
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Emerson, Caryl, George Pattison y Randall A. Poole, eds. The Oxford Handbook of Russian Religious Thought. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780198796442.001.0001.
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The Oxford Handbook of Russian Religious Thought is an authoritative new reference and interpretive volume detailing the origins, development, and influence of one of the richest aspects of Russian cultural and intellectual life – its religious ideas. After setting the historical background and context, the Handbook follows the leading figures and movements in modern Russian religious thought through a period of immense historical upheavals, including seventy years of officially atheist communist rule and the growth of an exiled diaspora with, e.g., its journal The Way. Therefore the shape of Russian religious thought cannot be separated from long-running debates with nihilism and atheism. Important thinkers such as Losev and Bakhtin had to guard their words in an environment of religious persecution, whilst some views were shaped by prison experiences. Before the Soviet period, Russian national identity was closely linked with religion – linkages which again are being forged in the new Russia. Relevant in this connection are complex relationships with Judaism. In addition to religious thinkers such as Philaret, Chaadaev, Khomiakov, Kireevsky, Soloviev, Florensky, Bulgakov, Berdyaev, Shestov, Frank, Karsavin, and Alexander Men, the Handbook also looks at the role of religion in aesthetics, music, poetry, art, film, and the novelists Dostoevsky and Tolstoy. Ideas, institutions, and movements discussed include the Church academies, Slavophilism and Westernism, theosis, the name-glorifying (imiaslavie) controversy, the God-seekers and God-builders, Russian religious idealism and liberalism, and the Neopatristic school. Occultism is considered, as is the role of tradition and the influence of Russian religious thought in the West. The collection includes two responses from contemporary Russian academic and Church life.
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Cheyne, Peter. Coleridge's Contemplative Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851806.001.0001.
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‘PHILOSOPHY, or the doctrine and discipline of ideas’ as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s prose writings to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what Coleridge calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. This book pursues a theory of contemplation that draws from Coleridge’s theories of imagination and the ‘Ideas of Reason’ in his published texts and extensively from his thoughts as they developed throughout published works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of history of philosophy; it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The book also illuminates Coleridge’s prose by analysis of his poetry, notably the ‘Limbo’ sequence. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature.
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Wells, Emma J. Overview. Editado por Christopher Gerrard y Alejandra Gutiérrez. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198744719.013.30.
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Despite a wealth of studies on the history of the medieval sensory world, key issues remain regarding how sensory experiences were constructed and conducted, and thus impacted the archaeological record. A particularly overlooked consideration has been the relationship between worshipper and church building, as the senses played an integral part in determining not only devotional experience, but also the formation of its aesthetic and physical setting. This overview provides a general introduction to the archaeology of the senses, addressing the role of the senses in late-medieval society with emphasis on their impact on religion and spirituality, and how current understandings have arisen. It then examines the possibilities for how the senses might be interpreted and understood through the archaeological evidence available today. It will be argued that the senses played an integral part within daily life but particularly within worship which, at this time, structured society in the widest sense.
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Lloyd, G. E. R. Intelligence and Intelligibility. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854593.001.0001.
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This study investigates the tension between two conflicting intuitions, our twin recognitions: (1) that all humans share the same basic cognitive capacities; and yet (2) their actual manifestations in different individuals and groups differ appreciably. How can we reconcile our sense of what links us all as humans with our recognition of these deep differences? All humans use language and live in social groups, where we have to probe what is distinctive in the experience of humans as opposed to that of other animals and how the former may have evolved from the latter. Moreover, the languages we speak and the societies we form differ profoundly, though the conclusion that we are the prisoners of our own particular experience should and can be resisted. The study calls into question the cross-cultural viability both of many of the analytic tools we commonly use (such as the contrast between the literal and the metaphorical, between myth and rational account, and between nature and culture) and of our usual categories for organizing human experience and classifying intellectual disciplines, mathematics, religion, law, and aesthetics. The result is a robust defence of the possibilities of mutual intelligibility while recognizing both the diversity in the manifestations of human intelligence and the need to revise our assumptions in order to achieve that understanding.
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Lecourt, Sebastian. A More Liberal Surrender. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812494.003.0005.
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This chapter explores how Walter Pater translated the political paradoxes of Arnoldian secularism into an ethical paradox of asceticism. In his 1885 historical novel, Marius the Epicurean, Pater tells the story of a second-century Roman who turns toward the new religion of Christianity because he sees in it the summation of his own pagan past. In this way Marius becomes a kind of conversion novel against conversion, one that rejects an ascetic, conversionist Christianity for a religion that embraces all the contradictory inheritances of history. In his very repudiation of ascetic sacrifice, however, Marius also becomes the sacrificial victim of his own aesthetic openness: a paragon of self-cultivation who is ultimately slain by his own refusal to reject any aspect of experience.
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Stokes, Christopher. Romantic Prayer. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857808.001.0001.
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Whilst religion and the secular have been continually debated contexts for literature of the Romantic era, the dominant scholarly focus has always been on doctrines and denominations. In analysing the motif of devotion, this book shifts attention to the quintessential articulation of religion as lived experience, as practice, and as a performative rather than descriptive phenomenon. In an era when the tenability and rationality of prayer were much contested, poetry—a form with its own interlinked history with prayer, especially via lyric—was a unique place to register what prayer meant in modernity. This study illustrates how the discourse of prayer continually intervened in the way that poetic practices evolved and responded to the religious and secular questions of the eighteenth- and nineteenth-century moment. After laying out the details of prayer’s historical position in the Romantic era across a spread of religious traditions, it turns to a range of writers, from the identifiably religious to the staunchly sceptical. William Cowper and Anna Letitia Barbauld are shown to use poetry to reflect and reinvent the ideals of prayer inherited from their own Dissenting denominational histories. Samuel Taylor Coleridge’s work is analysed as part of a long engagement with the rationality of prayer in modernity, culminating in an explicit ‘philosophy’ of prayer; William Wordsworth—by contrast—keeps prayer at an aesthetic distance, continually alluding to prayerful language but rarely committing to a devotional voice itself. John Keats, Percy Bysshe Shelley, and Lord Byron are treated in the context of departing from Christianity, under the influence of Enlightenment, materialist and atheist critique—what happens to prayer in poetry when prayer as a language is becoming impossible to maintain?
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Disch, Lisa y Mary Hawkesworth, eds. The Oxford Handbook of Feminist Theory. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199328581.001.0001.
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The Oxford Handbook of Feminist Theory provides an overview of the analytical frameworks and theoretical concepts feminist theorists have developed to challenge established knowledge. Leading feminist theorists, from around the globe, provide in-depth explorations of a diverse array of subject areas, capturing a plurality of approaches. The Handbook raises new questions, brings new evidence, and poses significant challenges across the spectrum of academic disciplines, demonstrating the interdisciplinary nature of feminist theory. The chapters offer innovative analyses of the central topics in social and political science (e.g. civilization, development, divisions of labor, economies, institutions, markets, migration, militarization, prisons, policy, politics, representation, the state/nation, the transnational, violence); cultural studies and the humanities (e.g. affect, agency, experience, identity, intersectionality, jurisprudence, narrative, performativity, popular culture, posthumanism, religion, representation, standpoint, temporality, visual culture); and discourses in medicine and science (e.g. cyborgs, health, intersexuality, nature, pregnancy, reproduction, science studies, sex/gender, sexuality, transsexuality) and contemporary critical theory that have been transformed through feminist theorization (e.g. biopolitics, coloniality, diaspora, the microphysics of power, norms/normalization, postcoloniality, race/racialization, subjectivity/subjectivation). The Handbook identifies the limitations of key epistemic assumptions that inform traditional scholarship and shows how theorizing from women’s and men’s lives has profound effects on the conceptualization of central categories, whether the field of analysis is aesthetics, biology, cultural studies, development, economics, film studies, health, history, literature, politics, religion, science studies, sexualities, violence, or war.
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Fearn, David. Pindar's Eyes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.001.0001.
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This book assesses the ways in which Pindar, as well as other epinician poets, investigates the theme of aesthetic, and specifically visual, experience in early classical Greece. Major case studies offer complete readings of Pindar’s Nemean 5, Nemean 8, and Pythian 1. These poems reveal Pindar’s deep interest in the relation between lyric poetry and the material and visual world of commemorative and religious sculpture and other significant visual phenomena. The book offers an account of the reception of Pindaric themes in the Aeginetan logoi of Herodotus’ Histories and also offers new insights into Simonides’ own material-cultural interests, a fresh treatment of narrative style and material culture in Bacchylides, and a visual and material-cultural reading of Pindar’s Nemean 10. Pindar uses the concept of vision within his poetry to assess the extent to which either encomiastic poetry or sculpture can achieve its commemorative or religious purposes; this book uses current theoretical methodologies to evaluate how this is done. New claims are made about the nature of classical Greek visuality and ritual subjectivity. Literary studies of Pindar’s evocation of cultural attitudes through elaborate use of the lyric first person are combined with art-historical treatments of ecphrasis, of image and text, and of art’s framing of ritual experience in ancient Greece. Pindar uses a particularly complex and alluring poetic language to create empowering and highly valued paradigms for social, cultural, and religious subjectivity.
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Wicks, Robert L., ed. The Oxford Handbook of Schopenhauer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190660055.001.0001.
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This collection of thirty-one essays written by contemporary Schopenhauer scholars has six sections: (1) Influences on Schopenhauer, (2) Schopenhauer’s Metaphysics of Will and Empirical Knowledge, (3) Aesthetic Experience, Music, and the Sublime, (4) Human Meaning, Politics, and Morality, (5) Religion and Schopenhauer’s Philosophy, and (6) Schopenhauer’s Influence. Some of the issues addressed concern the extent to which Schopenhauer adopted ideas from his predecessors versus how much was original and visionary in his central claim that reality is a blind, senseless “will,” the effectiveness of his philosophy in the field of scientific explanation and extrasensory phenomena, the role of beauty and sublimity in his outlook, the fundamental role of compassion in his moral theory, the Hindu, Christian, and Buddhistic aspects of his philosophy, the importance of asceticism in his views on how best to live, how pessimism and optimism should be understood, and his impact on psychoanalysis, as well as upon music, the visual arts, and literature. The collection is an internationally constituted work that reflects upon Schopenhauer’s philosophy with authors from a variety of backgrounds, presently working in Australia, Belgium, Brazil, Canada, Ecuador, England, France, Germany, Israel, the Netherlands, New Zealand, Scotland, Spain, and the United States.
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Murmu, Maroona. Words of Her Own. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199498000.001.0001.
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Drawing on a spectrum of genres, such as autobiographies, diaries, didactic tracts, novels and travelogues, this book examines the sociocultural incentives that enabled the emergence of middle-class Hindu and Brahmo women authors as an ever-growing distinct category in nineteenth-century Bengal and the factors facilitating production and circulation of their creations. By exploring the intersections of class, caste, gender, language, religion, and culture in women-authored texts and by reading these within a specific milieu, the study opens up the possibility of re-configuring mainstream history-writing that often ignores women. Questioning essentialist conceptions of women’s writings, it contends that there exists no monolithic body of ‘women’s writings’ with a firmly gendered language, form, style, and content. It shows that there was nothing in the women’s writings that was based on a fundamentally feminine perspective of experiences with an inherent feminine voice. While describing the specifically female life world of domestic experiences, women authors might have made conscious divergences from male-projected stereotypes, but it is equally true that there are a number of issues on which men and women authors spoke in unison. The book argues for distinctions within each genre and across genres in language, content, and style amongst women authors. Even after women authors emerged as a writing community, the bhadralok critics often censured them for fear of their autonomous selfhood in print and praised them for imparting ‘feminine’ ideals alone. Nevertheless, there were women authors who flouted the norms of literary aesthetics and tutored tastes, thus creating a literary tradition of their own in Bangla and becoming agents of history at the turn of the century.
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Kahn, Victoria. The Trouble with Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198808749.001.0001.
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This book argues that the literature of the English Reformation marks a turning point in Western thinking about literature and literariness. But instead of arguing that the Reformation fostered English literature, as scholars have often done, I claim that literature helped undo the Reformation, with implications for both poetry and belief. Ultimately, literature in the Reformation is one vehicle by which religious belief was itself transformed into a human artifact, whether we understand this as a poetic artifact or a mental fiction. This transformation in turn helped produce the eighteenth-century discipline of aesthetics, with its emphasis on our experience of non-cognitive pleasure in the work of art, and the modern formalist definition of literature, according to which—in the words of one critic—“literature solves no problems and saves no souls.” This modern definition of literature, in short, has a history, this history is intertwined with the problem of belief, and by returning to the fraught years of the late sixteenth and seventeenth centuries in England, we can come to a new understanding of how the trouble with literature has shaped our discipline. The first chapter contrasts modern and early modern understandings of literature and literariness. The second and third chapters focus on Thomas Hobbes and John Milton. The fourth chapter treats the work of Kant, Kierkegaard, and J. M. Coetzee.
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Academe Master Baiter: An Academic Book. North Carolina, USA: Pattern Books, 2018.
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