In lieu of an abstract, here is a brief excerpt of the content:Religion after September 11th World CongressMontreal, Quebec, September 11–15, 2006Frances S. AdeneyThis global conference, organized by Professor Arvind Sharma and a team of international scholars, began on the fifth anniversary of the terrorist attacks on the World Trade Center in New York City and the Pentagon in 2001. Conference themes stressed the commonalities among religions seeking peace, the unity all religions share in our common humanity, the necessity (...) for religions to formulate cogent views of human rights, and the importance of nonviolent socially engaged religion.Those themes were carried through the congress in individual paper presentations, panel discussions, and plenary sessions. The participants represented many nations and religions with Buddhist, Hindu, Jain, Muslim, Jewish, and Christian scholars, religious leaders and lay persons participating at every level of the conference.A central feature of many of the presentations was the connection between the political realm and religion. How religions could formulate their sources for human rights and press for human rights implementation, what forms of just war theory could be developed for the current age of terrorist warfare, and how religious groups could be protected from indiscriminate or dishonest proselytizing were among the topics addressed.The Religion after September 11th World Congress brought together people of different religions, political persuasions, and cultures around issues crucial to us all. [End Page 141]Frances S. AdeneyLouisville Presbyterian Theological SeminaryCopyright © 2007 The University of Hawai'i Press... (shrink)

In most groups, there’s a sort of commedia del l’arte distribution of roles. In families, factories, universities, corporations, people are known not only for their work, their looks, their social and economic status, but also for the characters they assume in the organization. So there are clowns and those who laugh at them, there are leaders and there are followers; some followers are worshipful, some resentful. Most people put on their organization-character as they put on their uniforms. It doesn’t mean (...) that the character isn’t related to their temperament—they have, after all, chosen it as they have chosen what they wear—but it never represents all of what they are and often represents very little. It is a convenience, a way of smoothing the roughness of interaction.At a congress of writers, things are somewhat different. At the PEN Congress there were the clowns—writers, say, like Salman Rushdie, the young Anglo-Indian novelist; there were dour, dynical observers from the periphery—I think of Sven Delblanc, the Swedish novelist; there were writers who’s pulled themselves out of Pleistocene social pockets which they’d barely survived and which they record: here I think of Kenji Nakagami, the Japanese novelist, screenwriter, and critic. Richard Stern’s Noble Rot, Stories 1949-88, will be published in the fall of 1988. (shrink)

Art is a form of religion. It uses symbols and stories to create a sublime, emotional experience. This demonstrates that religion, or at least spirituality, is experienced by the secular, including atheists. And, of course, art is used by all religions.

The thesis that I develop in this paper is that there is a way of affirmation of the existence and the world in Schopenhauer, assuming no foundation, an aesthetic justification of existence or a way of life either as a tragic pessimism or pessimism of strength. This is an additional path to his basic position stated in The World as Will and Representation and is clearly in Parerga and Paralipomena, especially in «On Religion» and in «Aphorisms on the wisdom (...) of life». To develop that thesis, I analyze the concept of «need for metaphysics» and its relationship to art and to the author’s project of philosophy. (shrink)

Life-extension was the focus for the 10th annual Congress of the International Association of Biomedical Gerontology, held last September at Cambridge University. This scientific convention included a panel of several bioethicists, including Art Caplan, John Harris, and others. The presentations on the ethics of life-extension are reviewed here.

I relate the aesthetic mediation of reason and the identity of religion and mythology found in theEarliest System-Programme of German Idealismto Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious (...) representational thought, when taken in conjunction with some of his ideas concerning Romantic art, suggests that he fails to demonstrate the necessity of the transition in question, thus undermining the triadic structure (i.e., art, religion, philosophy) of his theory of absolute spirit. (shrink)

'Interfaith dialogue' is a term that generally assumes dialogue between different faiths. Much has been written about why, how and what form this dialogue should assume. Although many theories have been developed around this process, it remained theories and did not develop into praxis. Some of these theories include aspects of psychology, theology of religions, preconditions for dialogue, ethical theories, epistemology and even social constructs in relation to the economy, social justice and peace. In as much as these theories are (...) important, and needed to be noted, the how to walk the talk in the encounters in interreligious dialogue is not often addressed. This article, therefore, addresses the 'enacting' element of interreligious encounters as human-to-human encounters in walking the talk. With the emphasis on human-to-human encounters, examples from history are considered to explicate these encounters and, finally, why the term 'interreligious dialogue' better expresses the human-to-human encounters than the term 'interfaith dialogue'. (shrink)

Die 'Süddeutsche Tafelsammlung', Library of Congress, Rosenwald Collection, ms. 4, stellt eine Abbreviatur spätmittelalterlichen Laienwissens dar: Sie umfasst einerseits das Wissen um das Leibeswohl (Einfluss der Planeten, Aderlass, Diätetik), andererseits die Weisheit bezüglich des Seelenheils (Tugend- und Lasterbaum, Turm der Weisheit); zudem finden sich darin weitere Visualisierungen: Analogien zwischen Mikrokosmos und Makrokosmos, der Topos des Zwergen auf den Schultern des Riesen, Darstellungen der Artes liberales und der Philosophie, die sogenannten Frauensklaven und das Rad der Fortuna. Die Interpretation und Dokumentation der (...) Text- und Bildtraditionen erfolgt anhand einer umfangreichen Sammlung von Bildmotiven aus mittelalterlichen Handschriften. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

One truly significant development in scholarship in recent decades has been the maturing of intercultural studies. Intercultural studies in philosophy have their origins in the comparative study of religions that emerged in the late nineteenth and early twentieth centuries. Pioneering practitioners include Max Müller, E. B. Tylor, and James Frazer among others. By the second half of the twentieth century, these traditions were further refined and extended by such notable figures as Gerardus van der Leeuw and Mircea Eliade. However, acceptance (...) of what is now called “intercultural philosophy” was not immediately forthcoming. In 1962, Edward Conze observed that the “rapid growth of communications has brought Eastern and Western cultures face to face. So far European, and particularly British, philosophers have reacted by becoming more provincial than ever before.” Although Conze believed philosophers could not remain provincial forever, he allowed that in his day the omens were “most unpropitious.” His point was not that Western philosophy should simply include non-Western philosophers in the conversion but, rather, that non-Western philosophies, beyond their own intrinsic worth, would provide a valuable service to Western philosophy by exposing its “latent presuppositions” to sustained examination and questioning. Put differently, if the activity of philosophy is understood as public discourse in a community of inquiry, then the philosophical conversation of mankind could only be enriched by inclusion of other voices. (shrink)

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the (...) Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

In her introduction to this collection, Tymieniecka presents her phenomenology of life - the leitmotif of the three-volume anniversary publication of Analecta Husserliana - as something that stands out from preceding historical attempts to investigate life in an 'integral' or 'scientific' way. After an incubation lasting throughout the 2000 years of Occidental philosophy, this scientific phenomenology/philosophy of life at last uncovers the entire area of the 'inner workings of Nature', exposing the way in which the 'sufficient reason' and the 'ground' (...) of beingness as such crystallise out of the 'onto poietic' process. This onto-poietic process, continuing as it does in the human creative condition, also reveals the authentic genius of the works of the human spirit. This new and original philosophy, free of fallacious simplifications, speculations and reductionism, opens up a basic starting point for all philosophy. Life, 'the theme of our times', at last receives a profound philosophical treatment. (shrink)

Wild Ideas is a collection of essays that brings a fresh and refreshing perspective to the wilderness paradoxically at the center of our civilization.

L'époque a le goût de la mort : mort de Dieu, mort de la morale, mort de l'art, peut-être même mort de la civilisation et de la planète... Cette tendance catastrophiste risque bien, non de nous éclairer sur notre situation, mais de nous aveugler. Nous finissons par ne plus distinguer les "paillettes d'or" (Diderot) du présent. Cela est sans doute plus manifeste dans les arts qu'ailleurs. Ce livre veut attirer l'attention sur la permanence du pouvoir créateur humain, notamment à travers (...) l'art contemporain, pourtant si bafoué par de nouveaux prophètes de malheur. La beauté n'a pas disparu pour qui sait la découvrir. Elle a une dimension morale, car la beauté fait vivre et respirer, instille le goût d'assumer son existence, donc de vouloir la vie plutôt que rien. Elle a une dimension religieuse en tant qu'elle fait signe vers plus grand, plus beau, plus vivant qu'elle. La sécularisation de nos sociétés peut certes troubler nos regards, nous rendant insensibles à ces dimensions de la beauté. Il n'en reste pas moins que, pour quiconque entretient en soi une vie culturelle et spirituelle, la beauté n'a pas cessé d'être évocatrice, et donc d'inspirer le désir de vivre, par-delà les "mille morts amères" qui parsèment nos vies. (shrink)

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

Review of Sorina Paula Bolovan (ed.), Ciprian Firea, Nicoleta Marţian, Sorin Marţian, Diana Covaci, Călătorie prin patrimoniul ecleziastic transilvănean. Ghid istoric, artistic şi pastoral (Journey through the Transylvanian Ecclesiastic Heritage. Historical, Artistic and Pastoral Guide), (Cluj-Napoca: Mega, 2011).

This chapter contains sections titled: Introduction: Danto's Philosophical Depth Encountering Danto and Religion Art and Religion Transfigurations: Catholic, Pragmatist, and Zen.

El Romanticismo hizo aportes fundamentales en la teoría de la pintura: por un lado centró la atención en su visualidad como arle de la apariencia y su idealización: por el otro, la coaccionó con el significado, poniéndola al servicio de la religión y el poder, estimuló el goce y la crítica del arte, pero los condenó también en favor de una actitud reverencial ante él. La pintura de los Nazarenos representa la intención romántica de una nueva pintura cristiana, alemana y (...) patriótica que habría de reorientar el espíritu de la época. Hegel se opuso radicalmente a este proyecto: su tesis del fin del arte no tiene sólo una explicación sistemática, sino que responde igualmente a un debate histórico concreto. El artículo aborda las posiciones de Wackenroder, August y Friedrich Schlegel, y Overbeck. (shrink)

This is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Relating themes in the history of European philosophy to topics in contemporary philosophy, Gordon Graham investigates the idea that art has the potential to re-enchant an irreligious world.

orbit and far beyond it. Indeed, the immense, painstaking, indefatigable and ever-improving effort of Husserl to find ever-deeper and more reliable foundations for the philosophical enterprise (as well as his constant critical re-thinking and perfecting of the approach and so called "method" in order to perform this task and thus cover in this source-excavation an ever more far-reaching groundwork) stands out and maintains itself as an inepuisable reservoir for philosophical reflec tion in which all the above-mentioned work has either its (...) core or its source. In fact, in his undertaking to re-think the entire philosophical enterprise as such and to recreate philosophy upon what he sought to be at least a satisfactorily legitimated basis, Husserl, through his already systematised and "authorized" work, and his courses, and later on in his spontaneous reflection (which did not find its way into a definitive corpus but was nevertheless sufficiently coherent with his previously established body of thought to be considered a continuation of it), uncovers perspectives upon the universe of man and projects their new philosophical thematisation that brings together all the attempts by philosophers (e. g., Merleau-Ponty, who drew upon this material and found there his own inspiration) who succeeded him with foundational intentions; it also gives a core of philosophical ideas and insights for the youngergenerationofphilosophers today. (shrink)

Developed from two reports to seminars organized by the Congress of Cultural Freedom, in 1962 and 1963, The Art of Conjecture constitues a programmatic document for the work of Futuribles, a team of intellectuals collecting materials on the role of the social sciences. The intellectual fabric of this work are woven with a fine mixture of hard-nosed mathematical analysis, derived from demographic and economic forecast, and less accurate, more imaginative, modelings for short and long term social forecast. Much of the (...) book is devoted to an analysis of common and special conceptions of the future. Here lies the greatest philosophical interest of this work. The method pivots around techniques of long term economic forecasting. The political and human aspects are ever present in the course of the study. Toward the end the author asks himself, and us, the question: should forecast be based on technological sources alone? The question has already been answered in such brilliant chapters as, "The Conditions of Political Foreseeability," "The Ecology of Social Ideas," "The Social Career of Ideas," "The Force of Moral Ideas," and "Empirical Relations between Ideas."—A. M. (shrink)