Switch to: References

Add citations

You must login to add citations.
  1. Wittgenstein, Religious “Passion,” and Fundamentalism.Bob Plant - 2013 - Journal of Religious Ethics 41 (2):280-309.
    Notwithstanding his own spiritual inadequacies, Wittgenstein has a profound respect for those capable of living a genuinely religious life; namely, those whose “passionate,” “loving” faith demands unconditional existential commitment. In contrast, he disapproves of those who see religious belief as hypothetical, reasonable, or dependent on empirical evidence. Drawing primarily on Culture and Value, “Lectures on Religious Belief,” and On Certainty, in this essay I defend two claims: (1) that there is an unresolved tension between Wittgenstein's later descriptive-therapeutic approach and the (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Persuasion as tool of education: The Wittgensteinian case.Alessio Persichetti - 2020 - Educational Philosophy and Theory 53 (6):624-633.
    In this paper, I aim to explore what role persuasion plays in the early education of children. Advocating Wittgenstein, I claim that persuasion involves imparting to a pupil about a particular world-picture (Weltbild) by showing rather than explaining. This because we cannot introduce a child to the hinges of a world-picture through a discursive argument. I will employ the remarks of Wittgenstein in On Certainty (1969) (OC) to define what persuasion (Überredung) is. I will make use of the notes regarding (...)
    Download  
     
    Export citation  
     
    Bookmark   2 citations  
  • Late Bergman: The Lived Experience of the Absence of God in Faithless and Saraband.Thomas Hibbs - 2016 - Religions 7 (12):147.
    Acclaimed as one of the great filmmakers of the 20th century, Ingmar Bergman is for many an arch-modernist, whose work is characterized by a high degree of self-conscious artistry and by dark, even nihilistic themes. Film critics increasingly identify him as a kind of philosopher of the human condition, especially of the dislocations and misery of the modern human condition. However, Bergman’s films are not embodiments of philosophical theories, nor do they include explicit discussions of theory. Instead, he attends to (...)
    Download  
     
    Export citation  
     
    Bookmark   1 citation