Between Thought, Religion, and Contemporaneity: the hyperboles of being and the equivocal communication of the sacred (Entre o Pensamento, a Religião e a Contemporaneidade: as hipérboles do ser e a comunicação equívoca do sagrado).The contemporary philosophical thought regards itself as postmetaphysical, post-religious, postmodern, and post-philosophical. It advocates for metaphysics without metaphysics, ethics without ethics, and religion without religion. This paper aims at exploring the possibilities of thinking through the place and role of God, religion, and mystique in the philosophical discourse (...) of contemporaneity, having William Desmond’s thought as a reference. According to Desmond’s thought, there’s an intimate, idiotic, porosity in the call to truth. Thought is communication openness for its own originating source. This means that thought is situated at the knowledge threshold, and it may open up to a reverence attitude in the face of the mystery of being. Through metaphysical metaphors, intermediate names going beyond the univocal determination of metaphysical constructs from the past, Desmond aims at thinking through something which is present amidst finitude, indicating a foremost transcendence going beyond our experience: an upper transcendence essentially asymmetrical to our own transcendence. Such metaphors or hyperboles safeguard the enigma involved in the issue of God and the religious being. This enigma or mystery isn’t something negative, but openness for a fuller and overdetermined agapic origin. Keywords: Metaxology. Religion. Postmodern. Agape. Mystique. Resumo O pensamento filosófico contemporâneo se compreende como pós-metafisico, pós-religioso, pós-moderno e pós-filosófico. Ele advoga uma metafisica sem metafisica, uma ética sem ética e uma religião sem religião. O objetivo deste artigo é explorar as possibilidades de refletir sobre o lugar e o papel de Deus, da religião e da mística no discurso filosófico da contemporaneidade, tendo como referência o pensamento de William Desmond. Para o pensamento desmondiano, existe uma porosidade íntima, idiótica, no chamado à verdade. O pensamento é uma abertura comunicativa para a sua própria fonte originadora. Isso significa que o pensamento se encontra no limiar do saber, podendo abrir-se para uma posição de reverência diante do mistério do ser. Através de metáforas metafisicas, nomes intermediários para além da determinação unívoca das construções metafisicas do passado, Desmond busca refletir sobre algo presente em meio à finitude, que indica uma transcendência primeira que vai além da nossa experiência: uma transcendência superior essencialmente assimétrica à nossa própria transcendência. Tais metáforas ou hipérboles asseguram o enigma envolvido na questão de Deus e do ser religioso. Tal enigma ou mistério não é algo negativo, mas uma abertura para uma origem agápica mais plena e supradeterminada. Palavras-chave: Metaxologia. Religião. Pós-moderno. Ágape. Mística. (shrink)

ABSTRACTIn his Lectures on Aesthetics, Hegel reasons that comedy responds to the fact that democratic ideals become a subject for a joke when enacted: progressive values such as free speech enable...

ABSTRACT: I relate the aesthetic mediation of reason and the identity of religion and mythology found in the Earliest System-Programme of German Idealism to Hegel’s account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory ofabsolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i. e., representational thought), I argue that Hegel’s account of the limitations of religious representational (...) thought, when taken in conjunction with some of his ideas concerning Romantic art, suggests that he fails to demonstrate the necessity of the transition in question, thus undermining the triadic structure (i. e., art, religion, philosophy) of his theory of absolute spirit.RÉSUMÉ: Dans cet article, jelais un lien entre, d’une part, la médiation esthétique de la raison et l’identite de la religion et de la mythologie formulées dans le premier programme systématique de l’idéalisme allemand et, d’autre part, le récit que fait Hegel de la transition menant de la religion grecque antique de l’art à la religion révélée (la chrétienté) dans sa théorie de l’Esprit absolu. Bien que cette transition repose sur l’idée que la religion révélée médiatise la raison plus adéquatement grâce à sa forme (la pensée représentationnelle), je soutiens que, si on considère parallèlement à ses idées sur l’art romantique les explications que donne Hegel au sujet des limitations de la pensée représentationnelle religieuse, ces explications laissent apercevoir qu’il échoue à démontrer la nécessité de la transition en question, ce qui a pour effet de faire s’effondrer la structure ternaire art, religion, philosophie de sa théorie de l’Esprit absolu. (shrink)

Cet article explore la conception que les idéalistes britanniques se firent de la relation entre la philosophie et la poésie. J’examine la classification proposée par Hegel ainsi que la façon dont ils la modifièrent, et les difficultés auxquelles ils firent face dans leur tentative d’accommoder les critiques bien connues de Platon. J’examine ensuite certaines critiques adressées aux idéalistes à partir du point de vue de la philosophie analytique pour en conclure qu’elles ne sont guère convaincantes.This article explores the relation between (...) philosophy and poetry according to the British Idealists. I examine their place in Hegel’s classification as they modified it and the difficulties that they faced when trying to accommodate Plato’s well-known criticisms. I examine further some of the criticisms of the British Idealist conceptions from the standpoint of Analytic Philosophy, in order to show how inconclusive they are. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

RÉSUMÉ: Hegel pense qu’il n’y a rien de plus important à comprendre que la liberté pour nous autres humains, et rien que nous ne comprenions plus mal. Tout son système philosophique, de fait, avec son ampleur et sa précision incroyables, peut être compris comme une unique démonstration très élaborée de l’importance et de la signification de la liberté. Qui plus est, la philosophie de Hegel n’est pas seulement à propos de la liberté, mais elle prétend aussi la produire. Car la (...) recherche philosophique sur ce que cela signifie que d’être libre aboutit chez lui à l’idée que la liberté dépend de la pratique de la philosophie. Comprendre cette position — ce qui est l’objectif principal du présent article — requiert d’examiner ce que Hegel a à dire au sujet de la liberté, de la philosophie et de leur interconnexion. La section 1 prépare cet examen en situant la liberté dans le système de Hegel. La section 2 présente l’explication du concept de liberté qu’il nous fournit dans sa Logique. La section 3 exploite cette explication logique pour interpréter la thèse de Hegel, dans sa Realphilosophie, que tous les êtres spirituels, et eux seuls, sont libres. La section 4 réfléchit sur le rôle attribué à la philosophie dans la libération de tels êtres spirituels. Et la section 5, enfin, conclut l’article en discutant quelques questions qui peuvent être soulevées au sujet de mon interprétation du traitement hégélien de la liberté. (shrink)

In this article, I examine a number of closely connected issues in Heidegger’s Contributions to Philosophy; god, gods, decision,the modern danger, and the salvation of humanity which is associated with the upsurge of a radically different age of being, what he calls, “the other beginning”.Heidegger situates the other beginning in the context of the emergency of a profound danger linked with the modern technological world. This prospect of danger calls for a decision in which human beings need to participate.Heidegger seems (...) to present an intimating, refusing and passing god as the only alternative beyond the onto-theo-logical tradition that lies behind the modern world. In this connection, I also suggest that the other beginning as “the history of the preservation of god”represents a sort of salvific conception, in a sense, a salvation from objectifying reason. As I see it, Heidegger offers the last godand gods asan antidote to the hegemony of objectifying reason. (shrink)