This paper presents the story of an isiXhosa traditional healer, Nomzi Hlathi, as told to the first author. Nomzi was asked about how she came to be an igqirha and the narrative focuses on those aspects of her life story that she understood as relevant to that developmental process. The material was obtained from a series of semi-structured interviews with Nomzi, with some collateral from her cousin, and synthesised into a chronological narrative presented in Nomzi’s own words. The aim of (...) the study was to examine her account of her unfolding experience within three hermeneutic frames. The first is the isiXhosa traditional account of what it is to become an igqirha, a process initiated by intwaso, an illness understood to be a call from the ancestors, and guided by messages from the ancestors in dreams and other symbolic communications. The second is the perspective of Western Clinical Psychology on the cognitive, emotional and behavioural disturbances that characterise intwaso. The third is the perspective of transpersonal psychology on the nature and development of shamanic healing gifts, as understood from observations of such practices in traditional societies across the world. As the narrative of Nomzi’s story is quite long, this paper presents her narrative as well as the methodology which gave rise to it. The interpretative review of the material from each of the three perspectives is presented in a second paper. (shrink)

When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral (...) class='Hi'>beauty in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is the incorporation of beauty (pulchrum) into the number of transcendentals, i.e., the concepts “convertible” with the notion of being (ens), that is, unity, truth, and goodness (unum, verum and bonum). This article revisits Monica Calma’s (...) study on Gerson’s theory of beauty and suggests new hypothetical sources that may have inspired this aspect of his thought. The second aspect emphasised here is Gerson’s classification of beauty, which entails some similarities to the one of Ulrich of Strasbourg, but also differs from it. Moreover, its incorporation of a division entirely devoted to artistic beauty is highly remarkable. (shrink)

The issue of the article is whether the experience of Beauty or love in Plato can be considered as some kind of religious experience. First, the article describes different views on the religious experience. Then it deals with Plato's view on beauty and love and their relationship. finally, demonstrating the divinity of Beauty in Plato, the article shows that if religious experience is an encounter of the experiencer with the divine being, or in religious term God, that (...) manifests itself in various forms, and that encounter is accompanied by a direct conscious of the divine being, then the experience of Beauty or love in Plato can be considered as a kind of religious experience. The article merely claims that the experience of Beauty or love is an instance of religious experience, and it does not have any epistemological view on religious experience, however, any epistemological view on religious experience logically includes the experience of Beauty or love. -/- Key words: religious experience, beauty, love, divinity, Plato . (shrink)

Offers a robust, full-orbed theology of beauty, showing how it has functioned as a theological concept from biblical times to the present day.

I summarize fundamental philosophical principles of the metaphysics of beauty in Arabic, Persian and Turkish thought, literature and culture, beginning with the Quran and hadith. As in Plato, true beauty is thought of as the destination of a journey of inner development, but through a distinctively Islamic series of “worlds.” With examples from literature and painting I show how Islamic philosophy elaborated the key role of imagination in realization of true beauty.

The aim of this paper is to provide a case for the double-halfer position in the sleeping beauty. This case relies on the use of the so-called imaging rule for probabilistic dynamics as a substitute for conditionalization. It is argued that the imaging rule is the appropriate one for dealing with belief change in sleeping beauty and that under natural assumptions, this rule results in the double-halfer position.

In this paper, we discuss an abductive argument for the existence of God from the experience of awe at natural beauty. If God's creative work is a viable explanation for why we experience awe at natural beauty, and there is no satisfactory naturalistic explanation for the origins of such experiences, then we have defeasible evidence that God exists. To evaluate the argument's tenability, we assess the merits of the two main theocentric frameworks that can be marshaled to answer (...) the question of why human beings experience awe at natural beauty: (1) taking the experience of natural beauty as resulting from God's design intentions and (2) conceiving experiences of natural beauty as religious experiences in themselves. We argue that the presence of phenomenological content the fine-grainedness of which exceeds our descriptive and conceptual capacities is better accounted for by the latter hypothesis: experiencing natural beauty amounts to experiencing divine attributes. We conclude that the argument's theological premise is tenable and, having previously argued for the empirical premise (Porcher & De Luca-Noronha, 2021), we conclude that awe at natural beauty is best explained by the existence of God. (shrink)

Hitchcock advances a diachronic Dutch Book argument (DDB) for a 1/3 answer to the Sleeping Beauty problem. Bradley and Leitgeb argue that Hitchcock’s DDB argument fails. We demonstrate the following: (a) Bradley and Leitgeb’s criticism of Hitchcock is unconvincing; (b) nonetheless, there are serious reasons to worry about the success of Hitchcock’s argument; (c) however, it is possible to construct a new DDB for 1/3 about which such worries cannot be raised.

While the current philosophical debate surrounding Hegel’s aesthetics focuses heavily on the philosopher’s controversial ‘end of art’ thesis, its participants rarely give attention to Hegel’s ideas on the nature of beauty and its relation to art. This study seeks to remedy this oversight by placing Hegel’s views on beauty front and center. Peters asks us to rethink the common assumption that Hegelian beauty is exclusive to art and argues that for Hegel beauty, like art, is subject (...) to historical development. Her careful analysis of Hegel’s notion of beauty not only has crucial implications for our understanding of the ‘end of art’ and Hegel’s aesthetics in general, but also sheds light on other fields of Hegel’s philosophy, in particular his anthropology and aspects of his ethical thought. (shrink)

Some versions of the doctrine of divine simplicity imply that God lacks really differentiated parts. I present a new argument against these views based on divine beauty. The argument proceeds as follows: God is beautiful. If God is beautiful, then this beauty arises from some structure. If God’s beauty arises from a structure, then God possesses really differentiated parts. If these premises are true, then divine simplicity is false. I argue for each of the argument’s premises and (...) defend it against objections, including an objection based on analogical predication, and an objection that supposes that God is simple while appearing complex. (shrink)

Everyfan -- Definitions : praise, beauty, athletics -- Discontinuities : demigods, gladiators, knights, ruffians, sportsmen, Olympians, customers -- Fascinations : bodies, suffering, grace, tools, forms, plays, timing -- Gratitude : watching, waste.

Aristotle considered moral beauty to be the telos of the human virtues. Displays of moral beauty have been shown to elicit the moral emotion of elevation and cause a desire to become a better person and to engage in prosocial behavior. Study 1 (N = 5380) shows engagement with moral beauty is related to several psychological constructs relevant to moral education, and structural models reveal that the story of engagement with moral beauty may be considered a (...) story of love and connectedness; it is uniquely predictive of caring for, being empathic of, loving, and valuing benevolence toward others. Study 2 (N = 542) demonstrates that the personality trait of engaging with moral beauty moderates susceptibility to elevation. These studies suggest that encouraging students to engage with moral beauty might increase their desire to become better persons and to do good. Convergent with other research showing that moral emotions motivate moral behavior, we suggest that moral education programs increase their focus on developing engagement with moral beauty. (shrink)

In Perceiving God, William Alston briefly suggests the possibility of perceiving God indirectly through the perception of another object. Following recent work by C. Stephen Evans, we argue that Thomas Reid’s notion of “natural signs” helpfully illuminates how people can perceive God indirectly through natural beauty. First, we explain how some natural signs enable what Alston labels “indirect perception.” Second, we explore how certain emotions make it possible to see both beauty and the excellence of the minds behind (...) beauty. Finally, we explain how aesthetic emotions can involve indirect perception of God via the natural sign of natural beauty. (shrink)

The beauty contest game is widely used to study the determinants of strategic thinking. Here, we examine the role of theory of mind in strategic reasoning by comparing both performance and the reas...

Why are people attracted to conspiracy theories? This essay conceives of conspiratorial motivation as an aesthetic phenomenon. To defend this account, I offer a coarse-grained taxonomy of contemporary motivational hypotheses that have been proposed to answer this question, describing their strengths and weaknesses. Next, I offer an aesthetic account of conspiratorial consumption; I argue that people’s preference for conspiratorial narratives is the product of a taste for a particular kind of story. To clarify the approach, I show how aesthetic appreciation (...) is often confused with epistemic evaluation, leading the conspiracy theorist to believe she is involved in epistemic practice instead of aesthetic practice. I then describe the genre of conspiracy theorizing, explaining how my proposed genre account makes sense of several puzzles about conspiratorial consumption. The essay concludes by suggesting that the genre account offers a unique mode of engagement with conspiracy theorists that might be employed in order to profitably dialogue with those who hold these fringe and often dangerous beliefs. (shrink)

Our goal is to prove that the golden section, however important, is not the only key to understand a mathematical-formalizing approach to the idea of beauty. Having developed, from this point of view, reading keys linked to the post-modern, it is necessary to link together the multiple rivulets of knowledge that gather in this direction. Moreover the canons of the approaches presented up to now are very indicative for the understanding of many aspects of beauty, which however depends (...) on the historical moment and the cultures created in the various civilizations. Therefore we can affirm that there is no effective definition of "beauty" that can be codified through fixed canons, but that the concept is expressed by a series of stratifications and interpretations that tend to link several major variations, expressing the various answers given by man to the question: what is the beauty? (shrink)

In this essay, I explore how cognitive science could illuminate the concept of beauty. Two results from the extensive literature on aesthetics guide my discussion. As the term “beauty” is overextended in general usage, I choose as my starting point the notion of “perfect form.” Aesthetic theorists are in reasonable agreement about the criteria for perfect form. What do these criteria imply for mental representations that are experienced as beautiful? Complexity theory can be used to specify constraints on (...) mental representations abstractly formulated as vectors in a high-dimensional space. A central feature of the proposed model is that perfect form depends both on features of the objects or events perceived and on the nature of the encoding strategies or model of the observer. A simple example illustrates the proposed calculations. A number of interesting implications that arise as a consequence of reformulating beauty in this way are noted. (shrink)

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of his times. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a much deeper significance. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the humanist artistic tradition that began with the Renaissance - a tradition founded on the (...) pursuit of a transcendent world of nobility, harmony and beauty. Following an illness that left him deaf for life, Goya developed an art of a fundamentally different kind - an art, Malraux writes, ruled by ‘the unity of the prison house’ which replaced transcendence with a pervasive feeling of dependence and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, the etchings and black paintings are the first announcement of the death of beauty in Western art. (shrink)

Beauty therapy is part of a vast multi-national, multi-million pound beauty industry. The beauty salon lies at the heart of a complex set of discourses and practices. Research conducted in the salon sheds light upon a number of key sociological debates including; issues of health and well-being; gendered employment practices; the construction and maintenance of gender identity and sexuality; body practices; and leisure activities. In this sense the salon may be used as a microcosm in which to (...) investigate wider sociological concerns. In this paper, I will draw upon the testimonies of beauty salon clients, and beauty therapists. I describe four areas of treatment: pampering; routine grooming; health treatments; and corrective treatments. These areas are investigated in depth and related to different spheres in the woman's life. In particular, I show how the beauty salon is drawn upon in helping to negotiate the balance between these competing arenas. The ambivalences of achieving an ‘appropriate’ appearance in these differing spheres is investigated. Their implication in the self-surveillance of the client is also discussed. (shrink)

This chapter contains sections titled: Conclusion.

Francis Hutcheson is generally accepted as producing the first systematic study of aesthetics, in the first treatise of An Inquiry into the Original of Our Ideas of Beauty and Virtue, initially published in 1725. His theory reflected the eighteenth century concern with beauty rather than art, and has drawn accusations of vagueness since the first critical response, by Charles Louis DeVillete in 1750. The most serious critique concerns the idea of beauty itself: whether it was simple or (...) complex, and the idea of a primary or secondary quality. It is the latter question I shall answer, attempting to clarify the problematic passage that appears at the end of the first section of Hutcheson’s first treatise. (shrink)

Resumo: Para revelar como esculturas de gelo e neve redefinem a beleza natural no contexto da arte moderna e explorar suas implicações para o design de arquitetura paisagística, este artigo usa uma combinação de revisão de literatura e análise de caso, a fim de explorar o valor estético, forma artística e fundamento filosófico de esculturas de gelo e neve em jardins, e examina casos específicos de formas de arte de escultura de gelo e neve na arquitetura paisagística. Pesquisas mostraram que (...) a compreensão da filosofia da arte moderna da beleza natural ultrapassou o escopo da estética tradicional e está mais preocupada com a interação entre a natureza e os seres humanos. A escultura de gelo e neve é uma forma única de arquitetura paisagística, que não só incorpora as características estéticas dos materiais naturais, mas também expressa reflexões profundas sobre o ambiente natural, através da inovação tecnológica, criação artística e outros meios. Este texto fornece uma nova perspectiva para a criação da arquitetura paisagística e enriquece ainda mais a conotação estética dos jardins modernos. (shrink)

IN Chapter 6 of the Poetics Aristotle defines tragedy as.

Most scientists and philosophers of science recognize that, when it comes to accepting and rejecting theories in science, considerations that have to do with simplicity, unity, symmetry, elegance, beauty or explanatory power have an important role to play, in addition to empirical considerations. Until recently, however, no one has been able to give a satisfactory account of what simplicity (etc.) is, or how giving preference to simple theories is to be justified. But in the last few years, two different (...) but related accounts have appeared, both of which address the above issues. On the one hand, James McAllister has argued that aesthetic criteria in science reflect scientists' judgements about what kind of theory is most likely to be empirically successful, based on the relative empirical success and failure of different kinds of theories in the past. Scientists employ what McAllister dubs "the aesthetic induction". On the other hand, I have argued that we need to see science as making a hierarchy of metaphysical assumptions about the comprehensibility and knowability of the universe, these assumptions asserting less and less as one ascends the hierarchy. One of the more substantial of these assumptions is that the universe is physically comprehensible. The key non-empirical feature a body of fundamental theories in physics must possess to be acceptable is unity. The better such a body of theory exemplifies the metaphysical thesis that the universe is physically comprehensible, in the sense that it has a unified dynamic structure, so the more acceptable such a body of theory is, from this standpoint. This affects not just theoretical physics, but the whole of natural science. In this paper I compare and contrast, and try to assess impartially the relative merits of, these two views. (shrink)