sublime and sublimation, between ascetism en religious practice, social order and cultural feelings.

Warning: includes two somewhat graphic images. This paper is an effort to lay out a taxomony of conceptual relations between the domains of the sublime and the religious. -/- .

Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno (...) and Kant is conflicted, ranging from clear indications of influence to expressions of antipathy, there has been relatively little comparative research done on these two thinkers. Moreover, this scant literature has mainly explored connections between Unamuno’s existential thought and Kant’s first two Critiques. In these works, however, feelings are regarded as inclinations and thus receive no serious consideration. In what follows, I therefore juxtapose Unamuno’s analysis of tragic feeling in The Tragic Sense of Life with Kant’s discussion of the feelings of beauty and the sublime in the Critique of Judgment. (shrink)

The religious feeling considered in this paper is the feeling of awe that can be construed in the extrapolation of the feeling of respect for the law. The latter itself can be better understood in analogy to the feeling of the sublime. Hence the thesis of my interpretation and extrapolation is: a characterization of the religious feeling in Kant’s critiques of reason and their analyses of feelings is possible. It has to be understood in analogy to the (...) feeling of respect for the law and thus to the feeling of the sublime. The religious feeling would, as certain formulations suggest, refer to awe of the inconceivable size of God. The religious feeling of awe would also be a feeling caused by reason -- an instance of a judgement-based feeling. The respective judgement is a reflexive judgement, an achievement of the reflecting faculty of judgement. The religious feeling would resemble Schleiermacher’s ”plain feeling of dependence’, but given the analogy with the dialectics of the sublime, it would also include the complementary component of self-elevation. (shrink)

In their recent work, L. Graham and J.-M. Kantor discuss a remarkable connection between diverging conceptions of the mathematical infinite in Russia and France at the beginning of the twentieth century and the religious convictions of their respective authors. They expand much more on the Russian side of the cultural equation they propose; I do believe, however, that the French (or rather ‘West European’) side is more complex than it seems, and that digging deeper into it is worthwhile. In (...) this paper I shall therefore broaden the path laid out in Graham and Kantor’s work, by connecting two different strands of research concerning the origin of what I loosely call ‘formal’ ideas: firstly, the rich but complex relation between logic and rhetoric throughout European cultural history, and secondly, the impact of religious convictions on the formation of certain mathematical and scientific ideas during Renaissance and Early Modernity, especially but not exclusively in France. (shrink)

How we feel is as vital to our survival as how we think. This claim, based on the premise that emotions are largely adaptive, serves as the organizing theme of Why We Need Religion. This book is a novel pathway in a well-trodden field of religious studies and philosophy of religion. Stephen Asma argues that, like art, religion has direct access to our emotional lives in ways that science does not. Yes, science can give us emotional feelings of wonder (...) and the sublime--we can feel the sacred depths of nature--but there are many forms of human suffering and vulnerability that are beyond the reach of help from science. Different emotional stresses require different kinds of rescue. Unlike secular authors who praise religion's ethical and civilizing function, Asma argues that its core value lies in its emotionally therapeutic power. No theorist of religion has failed to notice the importance of emotions in spiritual and ritual life, but truly systematic research has only recently delivered concrete data on the neurology, psychology, and anthropology of the emotional systems. This very recent "affective turn" has begun to map out a powerful territory of embodied cognition. Why We Need Religion incorporates new data from these affective sciences into the philosophy of religion. It goes on to describe the way in which religion manages those systems--rage, play, lust, care, grief, and so on. Finally, it argues that religion is still the best cultural apparatus for doing this adaptive work. In short, the book is a Darwinian defense of religious emotions and the cultural systems that manage them. (shrink)

We are living in a world full of turmoil and tribulations. At the dawn of the twenty-first century, humanity is facing severe challenges to its very existence. The ever-increasing environmental pollution and the prevalence of large-scale corruption at all levels in society threaten its ecological and social fabric. The monsters of drug menace and Covid-19 pandemic are trying to snuff out the very life-breath of human beings. Moreover, the rise of terrorism and the political rivalries among nations are threatening world (...) peace. In such a dismal state of affairs, the clouds of destruction are looming large over humankind. But, there is a ray of hope in the form of Sri Guru Granth Sahib for the salvation of humanity from its present ills. Sri Guru Granth Sahib (SGGS) [1-4], a unique religious and philosophical treatise, is a sublime blueprint for establishing a reign of peace and prosperity on Earth. It contains many divine messages unmistakably addressed to all humanity, which remain uniquely significant for all times and have a crucial relevance to the contemporary times. (shrink)

We are living in a world full of turmoil and tribulations. At the dawn of twenty first century, humanity is facing severe challenges to its very existence. The ever increasing environmental pollution the prevalence of large-scale corruption at various levels in society (esp. in underdeveloped countries) are threatening its ecological and social fabric. The monsters of drug menace and AIDS are trying to snuff out the very life breath of human beings. The rise of terrorism and political rivalries among nations (...) are threatening the world peace. In such a dismal state of affairs, the clouds of destruction are looming large over the humankind. But there is a ray of hope in the form of Sri Guru Granth Sahib, for salvation of humanity from its present ills. Sri Guru Granth Sahib (SGGS), a unique religious and philosophic treatise, is a sublime blueprint to establish a reign of peace and prosperity on earth. It contains many divine messages unmistakably addressed to all humankind, which remain uniquely significant for all times and have a crucial relevance to the present time as well. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

Mohammad Arkoun (1928-2010) Muslim intellectual, offered "Islamic Criticism" projects, "Applied Islamology" and finally the "Critical Rational Future" project "Negar" with the aim of reviewing and transforming the understanding of the religious text and offering solutions to overcome the decline of Islamic civilization. His main scheme is the critique of Islamic reason, but the methodology is Applied Islamology. Arkoun projects are one of the first projects in the Islamic-Arab world, which have read the religious text based on new Western (...) approaches. Research Methods and Questions: This study uses a descriptive-analytical approach to examine the impact and application of Western approaches in religious texts reading in the thought of Mohammad Arkoun. The questions considered in this research are: What are the most important practical approaches of Arkoun in religious texts reading? What is Arkoun 's aim using different Western approaches to read religious texts? What are Arkoun 's approaches in the Applied Islamology project? The aims of this research is to study the Western approaches considered by Arkoun in the field of religious texts reading and to examine the impact and application of Western approaches in the Applied Islamology project of Arkoun. Findings: Arkoun projects in particular Applied Islamology include a set of approaches such as structuralism, genealogy, poststructuralism, hermeneutics, etc. His ultimate aim in applying various Western approaches is to provide an active and capable methodology for critical of religious texts reading, definite break from dogmatic and Orientalist perspectives and also to replace these studies with studies based on positivist methods and traditional philology. Among all practical approaches of Arkoun in the field of reading religious texts, there are three approaches that have many manifestations in his thoughts and projects: First, the linguistic-semiotic approach to the study of the foundational age, second, Foucault's paleontological approach to read contemporary Islamic-Arab modern thought and third, Historical-Sociological Analysis for the study of Islam as a social phenomenon and the Events of the history of Islam after the Prophet (PBUH). (shrink)

The internalism/externalism controversy has various expanding features in contemporary epistemology. In this article we try to show capabilities of philosophy of Sadra for interfering in this debate. The main goal is to rely on principles of Sadra and defend a kind of internalism that consider cognitive access to factors needed for a belief to be epistemically justified as a pivotal condition. It will be proved that for defense of any knowledge, we should accept immediate and direct knowledge to states of (...) mind and this knowledge is superior from threefold propositional knowledge and merely with reliance on division knowledge to present knowledge and propositional knowledge internalism is defensible. Indeed, some ambiguities in internalism/ externalism controversy is due to inattention properties of present knowledge and its separation from propositional knowledge. After that as respects to those properties and also reliance on division knowledge to simple and compound we answer three main difficulties internalism face and display solution for internalist´s contra examples. (shrink)

The relation between science and religion has been one of the most important disturbance of scientists in recent centuries. Expressing thus issue was started in west countries since renaissance seriously and it expanded to all countries even Islamic countries. Mesbah as a philosopher and an Islamic scientist chooses completion idea which is based on his basis; e.g. philosophical foundations with reasonable relativity, paradigm acceptance which means thought basis, experience acceptance which means revelation and inspiration by innocent, monopoly on legitimacy acceptance (...) with salvations pluralism and behavioral pluralism, general rules of conversation acceptance agreement and required backgrounds and transcendent wisdom. Also, Ian Barbour as a philosopher and a western physicist chooses compilation idea which is based on his basis; e.g. science and religion methodology parallelisms, critical realism, paradigm acceptance which means mindset, religious experience, religious pluralism, philosophic hermeneutic and scanning philosophy. Mesbah leads to separate levels of knowledge in case of its value recognizing and to accept that knowledge is multilevel and is necessary to face systematically in phenomena analysis, but Barbour works on relativity. (shrink)

In the naturalism and evolutionism context, the ultimate objective and function of cognitive faculties is adaptation, survival and reproduction. Our cognitive faculties are not developed to generate true beliefs, therefore, but to have adapt behavior. Alvin Planatinga is not at ease with naturalism idea. To him, the problem with naturalism is the non-existence of proper understanding on the manner by which the belief and behavior are interrelated, thus, he concludes that the reliability of cognitive faculties are founded on low naturalistic (...) evolutionism; because any alleged argument against these faculties, first, requires reliable perceptual faculties and next, if we realize lack of reliability in these faculties we developed self-defeating belief, consequently, in both the cases naturalism face criticism. Plantiga’s criticism on naturalism view as to reliability of cognitive faculties has made some philosophers encounter problems like: 1) high probability of interrelating casual belief and behavior, 2) argument based on personal incredulity, 3) lack of distinction between reflective and non-reflective knowledge, 4) finding independent evidence for reliability as to escape self-defeating, 5) the external status of mental states and 6) the problem of circle. To the authors here, except the problem of circle, Plantiga has been able to find proper answer for the rest of five problems. The objective here is to analyze, complete, expand and criticize Plantiga’s notion in rejecting the atheistic naturalism through the ability to secure cognitive faculties to unveil consistency of the new scientific findings with religious beliefs. (shrink)

In 1948 a legendary debate occurred at the Oxford Socratic Club between C. S. Lewis and Elizabeth Anscombe. In this meeting, Lewis shows that atheistic naturalism is refute in meaning the strict materialism. Anscombe makes three basic criticisms against Lewis' argument:1. Lack of distinction between irrational and non-rrational causes of belief,2. The threat of skepticism,3. Lack of distinction between types of “full” explanations. Lewis and Anscombe's views can be considered in several ways: 1. Despite Anscombe's correct critique, the lack of (...) distinction between irrational and non-rational causes does not solve the problem of naturalism which is an inference belief of other beliefs. 2. Anscombe considers that “if naturalism is correct, there is no valid human argument”, is a skeptical threat to knowledge, while this objection does not problem on Lewis' argument. 3. Contrary to Anscombe's claim, the ommisive approach to other explanations is not a consequence of Lewis's Argument, but the main idea of naturalism itself. 4. Lewis's incorrect analysis of mental states is accidental because he considers the origin of these states to be non-physical. 5. Lewis did not explain well what he meant by “did not explain well what he meant by "the impossibility of evolutionary processes in creating creatures with perception and understanding of creatures without understanding”. By an analytical, comparative and critical insightcan eliminate, correct and reconstruct the weaknesses of Anscombe and Lewis' views. (shrink)

Seeking for Happiness in Islamic Philosophy and its goal, it can be seen a literal and unanimous answer in philosopher words which reflects combination of worldly(secular) and otherworldly(sacred) happiness that it can prepare temporal and eschatological happiness. But in a deeper investigation we can ask: what is the main purpose? mortal or final dimension of happiness? As a result of the text, it seems that from Al- Kendi to Al- Rāzī the otherworldly happiness is considered as a result of worldly (...) happiness. After Al- Farabi to Al- Tusi the flow of thinking tends to combine worldly and otherworldly happiness. After Al- Tusi and under the influence of him in Nasirian Ethics (Akhlaq-i Nasiri), the changed version of philosophical Islamic Ethics supports eschatological happiness and supposes the worldly happiness as a primary and elementary level which must be considered as healing of mortal life. Matching with this view, it seems that worldly happiness is Abolished, because it changes the balance between and worldly and otherworldly happiness, and also it week the social development instead of increasing individual happiness. (shrink)

One of the challenges faced by philosophers throughout history of philosophical thoughts, has always been and is to find an adequate answer to the question of quiddity and existence of time and space. Thus, the present study aims to elaborate on the question of space and time in Mulla Sadra’s philosophy and its relationship with outcomes of modern physics. The study also intends to conduct an analytical comparison between these two views and clarify newer aspects of this complicated and vague (...) question. According to principles of his thought system in his ontology and particularly his theory of substantial motion, Mulla Sadra’s view toward time has a closer concordance with findings of modern physicists like Albert Einstein. One of the most noticeable achievements of the present paper, considering ontological view of Mulla Sadra toward time, is to reach a comprehensive and vast view of the question of space and time covering space-time approach of theory of relativity and having the common issue of time in mind, develops an image of unity and connectivity of the world of nature with the four dimensions. The present study uses a documentary analysis research and uses library resources. The prominent works of Mulla Sadra and Einstein’ works on the Theory of Relativity were the main sources for this study. It is hoped that this view not only reveals further philosophical aspects of the issue of time but also help uncover newer approaches for physicists. (shrink)

In developing a theory of truth, as the main condition of knowledge, four issues are usually examined: definition or analysis of truth, truth bearer, truth-maker, and relation (in correspondence and coherence theories). A proper theory of truth is the one that affords the explanation of the truth of all types of propositions, and, at the same time, resists the liar paradox. The aim of this inquiry is to analyze Nasīr al-Dīn al-Tūsī’s theory of truth one who is involved both in (...) the liar paradox and in the explanation of the truth of the verity propositions and propositions that are made of intelligibles that have no instance in external world. This inquiry shows, with an analytical approach mostly systematic analysis, that he regards, against the difficulty of the lair paradox, propositions that are other than what they are about as the bearers of truth. Further, it shows that he, against the other difficulty, has two attitudes: first, he desists from the correspondence theory of truth and defines it as “ascription of an ideational thing to what, with its characteristic, is proper for it”; second, he considers the agent intellect to be the truth-maker. Although he regards the correspondence relation as an intentional relation, he does not discuss it much. One explanation could be that the issue of the correspondence relation does not play a serious part in the aforementioned difficulties. (shrink)

After Al-Tusi and his effective work- which is called Nasirian Ethics- Islamic Philosophical Ethics emerges a fixed perspective that tips the balance (scale) in favor of otherworldly Eudemonia and considers worldly Eudemonia as rental land which can be abandoned. Ibn Khaldun tries to present a communicative theory; but his work has limited under the main discourse of Islamic Ethics which is fixed in the space and effect of the mentioned balance. As a consequence, after Mulla Sadra and in Esfahan school, (...) the Nasirian though is developed. then the main challenge is that the social development is slowed diminished in favor of individual Eudemonia. But it seems that Tabatabai in his theory (Constructional Perceptions) shows or reconstructs an almost unanimous consensus which tries to find a compromise between temporal (worldly) and eschatological (otherworldly) Eudemonia. In this paper and according to its descriptive- analytic prospect- with memorizing a historical transformation- Tabatabai 's theory is supposed as an alternative for reconstituting of Islamic Philosophical Ethics, which is based on the popular goodness and civil development. (shrink)

Divine Attributes and their reflection in the flowing of history and its stages is one of the most important issues in the theoretical philosophy of history that has attracted the attention of philosophers of history. This issue has become doubly important because it relates to human free will and the extent and manner of his role in history. This article has tried to examine the three attributes: "Lordship", "Knowledge" and "Will" along with a description of the concept of "Fate and (...) Destiny" (Ghadza' and Ghadar) based on the words of Amir al-Mu'menin Ali (AS), especially in Nahj al-Balaghah, and besides explaining the concept of their sovereignty over the history, proves its incompatibility with determinism. The findings of this study indicate that in the view of Amir al-Mo'menin Ali (AS), if these attributes do not rule over the history, history will decline, and since according to the teachings of Islamic revelation, the free will of man, itself is one of the elements of historical events, believing in the dominance of these attributes does not limit the scope of human free will and formative authority. (shrink)

The most central issue in Imam Khomeini's mysticism is the velayat. The quality of this relationship is one of the important issues of mystical analysis of scholars and its re-reading and explanation can be examined in the context of an important research issue. The present article, with the aim of examining and explaining this relationship and alignment, has tried to examine the texts and knowledge in this field by descriptive-analytical method. Findings of the research indicate that among the mystics who (...) have discussed the velayat, Imam Khomeini (RA) has been very successful in explaining the relationship between mystical velayat with the belief in monotheism, prophethood and Imamate. In fact, Imam Khomeini's mystical worldview provides a mystical explanation of faith in seemingly theological categories that is worth pondering. (shrink)

The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness—the experiential quality of subjective awareness—as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence of something (...) like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (shrink)

Immanuel Kant’s work on the sublimity of aesthetic experience lends itself to puzzlement, if not misclassification. Complicating matters, Kant distinguishes between two kinds of sublimity: respectively, the “mathematical” and “dynamical” sublime. More mystifying is that the sublime is ineffable, beyond the ken of human comprehension. These perplexities notwithstanding, Kant argues that sublime sentiment produces a feeling of supersensible comfort. Commentators identify this comfort emanating most strongly from the dynamical sublime. However, in this paper I draw from (...) the unity of reason thesis to offer a plausible account of how the mathematical sublime is equally capable of providing the same feeling of supersensible comfort. (shrink)

In this paper, I argue that one of the most intense ways women are encouraged to enjoy sublime experiences is via attempts to control their bodies through excessive dieting. If this is so, then the societal-cultural contributions to the problem of eating disorders exceed the perpetuation of a certain beauty ideal to include the almost universal encouragement women receive to diet, coupled with the relative shortage of opportunities women are afforded to experience the sublime.

In this chapter, I identify a distinctive use of ‘sublime’ in Adam Smith’s philosophy of science. I show that for Smith a scientific discipline and its theories can be sublime. I trace this idea back to Malebranche. I show that in Smith it is a way to convey something about the irrational nature of the natural order lurking behind’s science’s intellectual achievements. In section 1, I diagnose and distinguish three uses of ‘sublime’ in Smith. I situate two (...) of these in the early modern discussions of the sublime in the wake of Boileau's and William Smith’s translations of Longinus. 1 I argue that the third in which Smith treats intellectual disciplines as themselves sublime is relatively distinctive, although not wholly unique to Smith. In section 2, I put this notion in context and trace it, somewhat speculatively, back to the reception of Isaac Newton by Smith and Smith’s reading of Malebranche. In the third section I conclude with some reflections on the significance of this discussion for Smith’s conception of the nature of scientific rationality. (shrink)

Kant says that there is a close affinity between the sublime and moral feelings of respect. This suggests a relatively unexplored way that aesthetic experience could be morally improving. We could come to respect persons by experiencing them as sublime. Unfortunately, this is not at all our ordinary experience of people, and it’s not clear how one would come to it. In this paper I argue that this possibility is realized in the portraits of Thomas Eakins. Through a (...) handful of specific techniques, Eakins suggests an incomparable psychological depth to the subjects of his portraits, a suggestion that causes the viewer to experience that subject as sublime in a way not unlike their experience of a vast ocean or endless abyss. -/- . (shrink)

This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It (...) is similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (shrink)

ABSTRACT Nietzsche sometimes offers the elusive suggestion that his psychology is not just original, but inaugural: a “first” in the field of philosophy. This article argues that a clue to his inaugural ambitions is discovered in his novel use of sublimation as a concept that engages in both a genealogical critique and a therapeutic reassessment of the basic prejudices of value dualism that he claims constitute the evaluative core of the Western tradition. Genealogically, sublimation provides Nietzsche with a new structure (...) of naturalistic narrative that explains how traditionally opposed values actually share a common natural origin. Therapeutically, Nietzsche's various sublimation narratives serve to qualify the effects of his own naturalistic critique by revealing how and why our animal bodies and drives can now be practically affirmed as a new source of human dignity. (shrink)

This chapter argues that Kant’s aesthetic theory of the sublime has particular relevance for his ethics of virtue. Kant contends that our readiness to revel in natural sublimity depends upon a background commitment to moral ends. Further lessons about the emotional register of the sublime allow us to understand how Kant can plausibly contend that the temperament of virtue is both sublime and joyous at the same time.

This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral (...) law. The Element takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca. (shrink)

The aim of this paper is twofold. First, to explain the distinction between Kant’s notions of the sublime and ugliness, and to answer an important question that has been left unnoticed in contemporary studies, namely why it is the case that even though both sublime and ugliness are contrapurposive for the power of judgment, occasioning the feeling of displeasure, yet that after all we should feel pleasure in the former, while not in the latter. Second, to apply my (...) interpretation of the sublime and ugliness to contemporary art, and to resolve certain issues that have been raised in accounting for the possibility of artistic sublimity. I argue that an experience of a genuine artistic sublimity is an uncommon occurrence. I propose that the value of contemporary art can be best explained by referring to Kant’s notion of ugliness and his theory of aesthetic ideas. (shrink)

Does consciousness have non-instrumental aesthetic value? This paper answers this question affirmatively by arguing that consciousness is sublime. The argument consists of three premises. (1) An awe experience of an object provides prima facie justification to believe that the object is sublime. (2) I have an awe experience about consciousness through introspecting three features of consciousness, namely the mystery of consciousness, the connection between consciousness and well-being, and the phenomenological complexity of consciousness. (3) There is no good defeater (...) of the justificatory force of my feeling of awe for the sublime of consciousness. To defend the third premise, I argue against two potential defeaters: The first is that most people do not regard consciousness as sublime. The second is that there do not seem to be physical properties that can ground the sublimity of consciousness. I conclude by emphasizing an important ethical implication of the thesis that consciousness is sublime, namely that it explains why even conscious subjects who cannot have valenced experiences deserve moral consideration. (shrink)

That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact (...) scholarship on the modern sublime tends to neglect its theoretical development after Kant and Schiller, moving directly to Nietzsche and the postmodern. The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art theory, ostensibly losing its theoretical centrality, but in reality contributing to modify radically the characteristics of the idea of the beautiful. That of philosophers is a form of crypto-sublime that is parallel but distinct from the sublime of poets and artists, and that operates underground to influence the definition of the forms of beauty. The present volume aims to outline the development of the philosophical conception of the sublime from Schiller, who formulated a theory of tragedy based on Kant’s philosophy and thereby laid the foundation of Romanticism, to the philosophers of the Hegelian school, who placed the sublime, together with the comic, the ugly, and the grotesque, at the center of aesthetic reflection. (shrink)

Generative AI systems like ChatGPT and Midjourney can produce prose or images. But can they produce art? I argue that this question, though natural and intriguing, is the wrong one to ask. A better question is this: can generative AI yield distinct or novel forms of aesthetic value? And I argue that the answer is yes. Generative AI can be used to put us in contact with the artificial sublime – a type of aesthetic value that Kant famously argues (...) is impossible. Kant claims that sublimity (a fusion of trepidation and wonderment) can only arise from encounters with nature, or perhaps close artistic depiction of natural scenes. I show how generative AI can yield encounters both with incalculable profundity (Kant’s mathematical sublime) as well as overwhelming moral chaos (Kant’s dynamical sublime). There are lessons not only for art criticism, but also for the philosophical theory of value. (shrink)

On Sublime, subliminal experiences in terms of life and death realtion, in desire and social status.

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...) parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

Through the idea of the sublime, Kant articulated a type of aesthetic judgement whereby one experiences the limits of cognition and representation. The result of this, for Kant, is the demonstration and cultivation of our moral nature. Lyotard reframes the idea of the sublime in terms of post-modernity through his development of the idea of the event. The experience of the event is roughly equivalent to the experience of the sublime. Crucially though, the experience of the event, (...) unlike the sublime, does not foster individual morality; rather, it points to injustices. (shrink)

This paper explores religious belief in connection with epistemological disjunctivism. It applies recent advances in epistemological disjunctivism to the religious case for displaying an attractive model of specifically Christian religious belief. What results is a heretofore unoccupied position in religious epistemology—a view I call ‘religious epistemological disjunctivism’. My general argument is that RED furnishes superior explanations for the sort of ‘grasp of the truth’ which should undergird ‘matured Christian conviction’ of religious propositions. To this (...) end I first display the more familiar perceptual epistemological disjunctivism, contrasting it with both externalist and classically internalist views. This prepares the way for introducing RED with its own distinctive factive mental state operator—pneuming that p. In this second section I present the RED model, not failing to address a potential problem concerning religious disagreement. I also clarify RED’s distinctive internalist aspect, describing how it comports with contemporary internalist thinking in epistemology. I then move in section three to criticize externalist and classical internalist views, showing where they fail to make proper sense of the sort of knowing which should ground mature Christian conviction. Specifically, I highlight three intuitions which I think any theory of religious belief should capture: what I call the case-closed intuition, the good believer intuition, and the Plantingian platitude. This is all to set up for the final section where I argue that RED is superior for understanding proper religious believing—capturing the aforementioned intuitions. (shrink)

From aesthetics to social anthropology and art, this essay is pretending to be an approach to some relevant works on the vision to a better man.

Religious disagreement is an emerging topic of interest in social epistemology. Little is known about how philosophers react to religious disagreements in a professional context, or how they think one should respond to disagreement. This paper presents results of an empirical study on religious disagreement among philosophers. Results indicate that personal religious beliefs, philosophical training, and recent changes in religious outlook have a significant impact on philosophers' assessments of religious disagreement. They regard peer disagreement (...) about religion as common, and most surveyed participants assume one should accord weight to the other's opinion. Theists and agnostics are less likely to assume they are in a better epistemic position than their interlocutors about religious questions compared with atheists, but this pattern only holds for participants who are not philosophers of religion. Continental philosophers think religious beliefs are more like preferences than analytic philosophers, who regard religious beliefs as fact-like. (shrink)

Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.

Resolving religious disagreements is difficult, for beliefs about religion tend to come with strong biases against other views and the people who hold them. Evidence can help, but there is no agreed-upon policy for weighting it, and moreover bias affects the content of our evidence itself. Another complicating factor is that some biases are reliable and others unreliable. What we need is an evidence-weighting policy geared toward negotiating the effects of bias. I consider three evidence-weighting policies in the philosophy (...) of religion and advocate one of them as the best for promoting the resolution of religious disagreements. (shrink)

What is special about the philosophy of history when the history is about science? I shall focus on an impasse between two perspectives — one seeking an ideal of rationality to guide scientific practices, and one stressing the contingency of the practices. They disagree on what this contingency means for scientific norms. Their impasse underlies some fractious relations within History and Philosophy of Science. Since the late 1960s, this interdisciplinary field has been described, variously, as an “intimate relationship or marriage (...) of convenience”, a “marriage for the sake of reason”, a “troubling interaction ”, a “precarious relationship”, or one at risk of “ epistemological derangement”. -/- My paper has three aims. First, I characterise two idealised perspectives in this impasse: the sublimers and subversives. Then I describe a curious dynamic in which each perspective accuses the other of, simultaneously, claiming too little and too much. Subliming is dismissed for being scholastic, and condemned for being imperialist. Subverting is disparaged for being merely sociological, then criticised for being irrational or relativist. Here I draw on and extend the analyses of science studies in Kitcher, Zammito and others. Second, I argue that sublimers and subversives often talk past each other. Their mutual dismissals and condemnations arise partly because each perspective misconstrues the other’s claims. Each fails to see that the other is interested in different problems and interprets concepts differently. Third, I suggest that my analysis clarifies some current disagreements and old debates about contingency in science. It may also apply to debates on the contingency of norms in non- scientific realms. (shrink)

Kant admits that there are two kinds of human works that have something sublime about them, the work of the poet, e.g., tragedy, and the work of the politician, i.e., war. This paper will explore Kant's reasoning about the sublime element in these two human works.

This paper responds to Kevin Krein’s claim in that the particular value of nature sports over traditional ones is that they offer intensity of sport experience in dynamic interaction between an athlete and natural features. He denies that this intensity is derived from competitive conflict of individuals and denies that nature sport derives its value from internal conflict within the athlete who carries out the activity. This paper responds directly to Krein by analysing ‘intensity’ in sport in terms of the (...) relationship between attention and reflection and the interaction between self and environment. I reply directly to Krein’s rejection of self-competition as based on a mischaracterisation of internal struggle and argue that the weighing of incompatible desires does not involve a fragmented self. I argue that the unique intensity to which Krein refers is strongly comparable to the Kantian conception of the sublime and explore how sublime experience fits Krein’s account and outline some serious problems that such an ideal of experience poses for nature sport. (shrink)

Many commentators have claimed that Nietzsche views the “sublimation” (Sublimierung) of drives as a positive achievement. Against this tradition, I argue that, on the dominant if not universal Nietzschean use of Sublimierung and its cognates, sublimation is just a broad psychological analogue of the traditional (al)chemical process: the “vaporization” of drives into a finer or lighter state, figuratively if not literally. This can yield ennobling elevation, or purity in a positive sense—the intensified “sublimate” of an unrefined original sample. But it (...) can also yield drives that are attenuated or otherworldly, in a pejorative sense. One (but only one) kind of Nietzschean sublimation is the “translation” of drives to “imaginative and spiritual” (Imaginative und Seelische) modes of expression. I con­clude that, despite certain appearances to the contrary, Nietzsche ultimately values basic drives’ powerful expression, without preferring either that this occur specifically as “higher culture” or as “savage” natural impulse. (shrink)

El presente artículo explora la relación entre las ideas estéticas y las ideas políticas en la obra de Edmund Burke. De dicho análisis, surge, en primer lugar, la relevancia de sus reflexiones sobre las nociones de lo bello y de lo sublime para la teoría política, usualmente desestimadas por los comentadores. En segundo lugar, la afirmación de que la idea de lo sublime es una característica imprescindible de todo gobierno político, y el trazado, en tercer lugar, de una (...) distinción entre los gobiernos moderados y despóticos a partir de las diferencias estéticas observables en la monarquía constitucional inglesa y la asamblea nacional revolucionaria de 1789. Se concluye la dependencia recíproca de ambas disciplinas para comprender con mayor exactitud el pensamiento del autor irlandés. (shrink)

I explore the question of whether Kant's theory in the _Critique of Judgment_ can account for judgments of taste regarding the ugly. While there has been much debate regarding this issue in recent decades, many scholars consider the harmonious free play of the faculties to be central to this question. Harmony between the imagination and understanding is stressed in a series of articles regarding pure judgments of taste of the ugly beginning in the mid-1990s and extending into the 2000s. I (...) investigate the status of harmony in relation to judgments of taste and assess whether harmony among these faculties is necessary to free play. In order to do so, I compare three cases and consider how they relate to cognitive activity: judgments of taste of the beautiful, sublime experience, and judgments of taste regarding works of genius. I argue that pure judgements of taste of the ugly are indeed possible by analyzing the cognitive activity produced in the aforementioned cases. These instances show that in Kant's system, cognitive harmony may not be necessary to free play. Rather, disharmony can also be produced by our aesthetic experience with the sublime, works of genius, and the ugly. I argue that in spite of the contrapurposiveness and disharmony that experience with the ugly spurs, it nonetheless can serve to further cognitive activity and quicken the mind, cultivate taste, and develop community, thus revealing a higher, and perhaps unexpected, purposiveness. (shrink)

In the United States, running as a leisure activity continues to grow in popularity. Healthism can explain some of this popularity, but it does not explain ultradistance running. Motivations for running can be seen through the framework of the Kantian beautiful and the sublime. Beauty arises through extrinsic motivation and relates to an economy of form, while the sublime arises through intrinsic motivation and relates to confronting the challenge of infinity. The commercial, casual, and competitive aspects of distance (...) running correspond to the beautiful, while its wilderness, serious, ultradistance aspects correspond to the sublime. This framework is used to explain the resistance of ultrarunning to the would-be detrimental effects of commodification, as well as ultrarunning’s ‘wild turn.’. (shrink)

This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, and (...) Kant's resistance to, and unwilling participation, in that shift. For the nostalgic logic of ruins, and the irruption of geological time, both of which were conceived and negotiated through sublimity, cannot be assimilated within Kant's philosophy. The treatment of the sublime in the "Critique of Judgment" represents Kant's philosophy straining at its own limits in the attempt to develop a philosophy of history and to articulate an historicized philosophical anthropology. Therefore, read through art history, Kant's 3rd. Critique represents a vital transition between Enlightenment rationalism/beauty and Romantic historicism/sublimity, along with the work of Beethoven, Goya, and the Marquis de Sade. (shrink)