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Dialogue and Universalism

Volume 27, Issue 3, 2017
Values and Ideals. Theory and Practice: Part IV

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Displaying: 1-10 of 19 documents

1. Dialogue and Universalism: Volume > 27 > Issue: 3
Małgorzata Czarnocka, Emily Tajsin Values and Ideals. Theory and Praxis
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ideals and values in religion and myth
2. Dialogue and Universalism: Volume > 27 > Issue: 3
Konrad Waloszczyk On Three Philosophical Premises of Religious Tolerance
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My contention is to adumbrate three general premises leading to religious tolerance. The first is that emphasis should be laid much more on ethics than on metaphysics. Religions greatly differ in supernatural beliefs but all advocate justice, love, truthfulness, self-control and other virtues. Second, the beliefs about God are not true in their exact meaning, but rather as remote analogies to scientific truth. Religion is more resemblant of poetry than science. Third, real tolerance consists in the readiness to assimilate some of the values of other religions, since no one has expressed the transcendent in an exhausting and perfect way.
3. Dialogue and Universalism: Volume > 27 > Issue: 3
Marshall Steven Lewis Experimental and Applied Religious Studies for Reducing Religious Intolerance
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If we wish to increase peace in the world, we must reduce religious intolerance. Potentially, the way we learn about religion and conceive religion can be a strategy toward this goal. How might we design and continually improve learning about religion if our intention is specifically to reduce religious intolerance? This requires experimentation to determine demonstrably effective solutions. In this paper, I briefly unpack the challenge at hand, describe an approach toward collaborative experimentation, and outline a set of mutually-supporting hypotheses with which to design solutions.
4. Dialogue and Universalism: Volume > 27 > Issue: 3
Robin S. Seelan SJ Humanizing and Dignifying Cultures: Dialogues with Religious Utopias
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Cultures can be divided into two kinds: exclusive and inclusive. Exclusive cultures are oppressed, vulnerable, and dehumanizing. Inclusive cultures are dignifying and humanizing, and they move towards the ideals of egalitarianism, prosperity, justice, etc. Religion, as part of culture, plays influential roles in the formation and promotion of ideals. This promotion can be located in religious utopias, because almost all religions hold utopias as central to their ideals and chart their ideologies towards these. In the context of exclusion and inclusion, the poor, the oppressed, the marginalized, the vulnerable etc. need to be included into the main stream of social life and this requires values such as liberation, justice, compassion, mercy, charity, etc. No authentic culture is possible without the inclusion of the poor. The awakening of such inclusion is offered by religious utopias. Hence dialogues between cultures and religious utopias and also between various religious utopias are essential. This paper seeks to understand how religious utopias can contribute to the dignifying and humanizing of cultures.
ideals and values in art
5. Dialogue and Universalism: Volume > 27 > Issue: 3
Manjulika Ghosh Autonomy of Art and Its Value
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The problem investigated in this paper is that of the value of art in terms of its autonomy. The value of art does not reside in the imitation of life nor does it consist in its representational function. This idea is as old as Plato. Art’s autonomy wherein we locate its value, is actually the autonomy of the artist. The artist is not merely free to choose his subject matter, he is also free to bring about the contrasts and the syntheses among the diverse constituents of the work in a particular medium. Artist’s function in this regard is one of problem-solving. To the aesthetic mind problem solving suggests finding for the line, arrangement of mass, colour, shape, etc., a support which passes through them and goes beyond itself to the less definable. If this autonomy of the artist is compromised, art becomes causally determined and is made to serve some ideological agenda.There are, indeed, great works of art which have inspired the human mind and enabled it to withstand unabashed inhumanity; in which man has taken refuge in suffering and death. It may promote inter-cultural understanding. Yet, the value of art is not to be judged by ends extraneous to it. It is not given antecedently nor is it an established property of things. The value of art is intrinsic to it unfolding the inexhaustibility of the aesthetic spirit.
6. Dialogue and Universalism: Volume > 27 > Issue: 3
C. E. Emmer Burkean Beauty in the Service of Violence
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Examining the images of war displayed on front pages of the New York Times, David Shields makes the case that they ultimately glamorize military conflict. He anchors his case with an excerpt on the delight of the sublime from Edmund Burke’s aesthetic theory in A Philosophical Enquiry. By contrast, this essay considers violence and warfare using not the Burkean sublime, but instead the beautiful in Burke’s aesthetics, and argues that forming identities on the beautiful in the Burkean sense can ultimately shut down dialogue and feed the lust for violence and revenge.
7. Dialogue and Universalism: Volume > 27 > Issue: 3
Tatjana M. Shatunova Why Be Beautiful?
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The subject of the article is the problem of necessity of being beautiful. The beauty of the person is presented as a human value that can be achieved by the person herself/himself. Nevertheless, beautiful people are considered to be guilty of all sins. That is why beauty needs justification. The article provides a number of arguments to protect beauty. Creating beauty is—as it is shown—an anthropological task of the human being. Hence the main thesis of the paper is: We have to philosophize aesthetic virtues, and we are responsible for being beautiful.
8. Dialogue and Universalism: Volume > 27 > Issue: 3
Stefan-Sebastian Maftei The Elusive Sensus Communis of Nowadays Aesthetic Cosmopolitanism
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The theory of aesthetic cosmopolitanism is a part of a new trend in cultural sociology. In recent years, varieties of cosmopolitanism surfaced in cosmopolitanism theory, one such version IS the aesthetic cosmopolitanism. Inspired by the new cosmopolitanism theories, sociologists and philosophers translate the difference between normative cosmopolitanism and “lived” cosmopolitanism into the aesthetic realm, arguing that the aesthetic cosmopolitanism which can be found in the perceptual qualities brought to light by the contemporary artworks is a version of the lived cosmopolitanism accepted by cultural sociology today. Our study will try to shed light on the elusiveness of the notion of sensus communis which lies at the heart of contemporary aesthetic cosmopolitanism.
9. Dialogue and Universalism: Volume > 27 > Issue: 3
Tetiana Gardashuk Bioart as a Dialogue
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Three definitions of bioart are analyzed in the paper: bioart—as a part of science art, as the creation of some new exciting artworks, and/or as the visualization of certain stages of biomedical and life science research. Bioart is an in vivo practice which produces “living artworks” and creates a new reality. It represents the dialogue between art, science and technology and between academic and amateur science. It promotes the dialogue aimed at rethinking the phenomenon of life. It blurs the boundaries between natural and artificial and the limits of human manipulations with the fundamentals of life.
10. Dialogue and Universalism: Volume > 27 > Issue: 3
Ilektra Stampoulou Re-framing the Abyss: the Visual Writing
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In this paper I intend to discuss some notions encountered in Jacques Derrida’s The Truth in Painting (1978) immediately linked to the manner in which the art object is understood and addressed, its limits, what it does/does not include/exclude, what it touches upon—if we can use such formalist terms in a deconstructive framework. These notions have perhaps formed in the past decades the art object, even though there is no frequent reference of Derridean deconstruction in texts regarding art.3 The ones I will mostly refer to are the parergon, the frame and the abyss. I intend to support that Derrida has not just doubted the limits between ergon and parergon but has also illustrated in an almost painterly manner the abyss and the parergon, thus reframing fields of aesthetics, philosophically and visually.