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In this book, Péter Hartl offers a novel and comprehensive interpretation of David Hume's philosophy of religion focusing on various notions of ‘true religion'in Hume's overall philosophy and how these ideas relate to various early modern positions on religion, society and philosophy. The account consists of both critical and positive parts of Hume's overall, nuanced position on theoretical, social and political aspects of religion and the philosophical criticism of religion. Hartl criticises the atheist and completely negative readings of Hume's philosophy of religion. Instead of presenting Hume's position as either a radical secularist or closet atheist, Hartl's interpretation builds on the underdeveloped, positive and constructive parts of Hume's account of (true) religion. For Hume, on the one hand, true religion is compatible with or even vindicates minimal theism, and it forms part of philosophy exemplifying intellectual virtues. On the other hand, Hume has a pragmatic stance on the role of religion in society, according to which the government should control religious institutions to reduce the power of church authorities but to retain some positive social effects of religion.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 license. It is free to read at Oxford Academic and offered as a free PDF download from OUP and selected open access locations. Wherever on the globe anyone sets foot, they find people immersed in matters aesthetic. In UNESCO's definition, there can be no culture that lacks an aesthetic life. Aesthetic life is in this sense a cultural universal. At the same time, aesthetic engagement has a geography. While all cultures have an aesthetic, no single aesthetic belongs to all cultures. The rules of aesthetic engagement vary by culture. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? To model what the turn toward diversity might look like in aesthetic inquiry, the four authors of this book each defend a different account of aesthetic diversity, and together they engage in a collective dialogue about these issues. The Geography of Taste will interest students in aesthetics courses as well as others interested in novel, global approaches to aesthetics.

In scholarly study of the New Testament and early Christian rhetoric, one key element is often overlooked: the sublime. To address this omission, contributors to this volume explore how the awe-inspiring, dislocating, and sometimes horrifying language that characterizes sublime rhetoric exerts cognitive, emotional, and physiological force on its audiences, transporting them to new realities as they go along. The essays lay a foundation for scholars and students to identify and interpret sublime rhetoric in biblical literature. Contributors include Murray J. Evans, Alan P. R. Gregory, Christopher T. Holmes, Roy R. Jeal, Harry O. Maier, Erika Mae Olbricht, Thomas H. Olbricht†, Vernon K. Robbins, and Jonathan Thiessen.

Daniel Orrells examines the ways in which the ancient world was visualized for Enlightenment readers, and reveals how antiquarian scholarship emerged as the principal technology for envisioning ancient Greek culture, at a time when very few people could travel to Greece which was still part of the Ottoman Empire. Offering a fresh account of the rise of antiquarianism in the 18th century, Orrells shows how this period of cultural progression was important for the invention of classical studies. In particular, the main focus of this book is on the visionary experimentalism of antiquarian book production, especially in relation to the contentious nature of ancient texts. With the explosion of the Quarrel between the Ancients and the Moderns, eighteenth-century intellectuals, antiquarians and artists such as Giambattista Vico, Johann Joachim Winckelmann, the Comte de Caylus, James Stuart, Julien-David Leroy, Giovanni Battista Piranesi and Pierre-François Hugues d'Hancarville all became interested in how printed engravings of ancient art and archaeology could visualize a historical narrative. These figures theorized the relationship between ancient text and ancient material and visual culture - theorizations which would pave the way to foundational questions at the heart of the discipline of classical studies and neoclassical aesthetics.

Modern Irish Literature and the Primitive Sublime reveals the primitive sublime as an overlooked aspect of modern Irish literature as central to Ireland's artistic production and the wider global cultural production of postcolonial literature. A concern for and anxiety about the primitive persists within modern Irish culture. The “otherness” within and beyond Ireland's borders offers writers, from the Celtic Revival through independence and partition to post-9/11, a seductive call through which to negotiate Irish identity. Ultimately, the disquieting awe of the primitive sublime is not simply a momentary recognition of Ireland's primitive indigenous history but a repeated rhetorical gesture that beckons a transcendent elation brought about by the recognition of the troubled, ritualistic and sacrificial Irish past to reveal a fundamental aspect of the capacity to negotiate identity, viewed through another but intimately reflective of the self, within the long emerging twentieth-century Irish nation.

This book examines how enlightened Scottish social theorists c.1740 to c.1800 understood the origin and development of religion. Challenging scholarly disregard for the topic, it shows how most prominent thinkers of the Scottish Enlightenment thought deeply about the relationship between religion, human nature and historical change. The Scots viewed this relationship as an important strand within the study of the'science of human nature'and the'history of man.'The fruits of this investigation were a sophisticated and innovative account of religious change that is characterized by a striking modernity and naturalism, even by the more devout theorists. The views of the literati surveyed here need to be incorporated into our larger histories of the'science of religion'as much as they do into our understanding of the social theory of the Scottish Enlightenment.

Esta edición recoge las tres obras que Ramsay dedicó a temas de estética, traducidas por primera vez al castellano:'Ensayo sobre el ridículo'(1753),'Diálogo sobre el gusto'(1754) e'Investigación sobre la villa sabina de Horacio'(inédita en vida del autor). Su lectura conjunta proporciona una síntesis de los principales temas de estética y teoría del arte europeos de la segunda mitad del siglo XVIII. Por un lado, Ramsay fue el primero en problematizar filosóficamente el gusto, cuya desconfianza ante este le condujo a priorizar la mimesis aristotélica, generando toda la reflexión posterior sobre la norma del gusto; por otro, su conocimiento de los restos y de las teorías históricas de la Antigüedad grecorromana hizo que denigrara a los romanos ante los griegos, alineándose con Winckelmann y dando lugar a la encendida crítica de Piranesi.

Philosophers have discussed art – or artistic practices such as poetry – since ancient times. But systems of art and entertainment appeared only in the modern era – in the West, during the 18th and 19th centuries. And philosophers have largely neglected the concept of entertainment. In this book Andy Hamilton explores art and entertainment from a philosophical standpoint. He argues, against modernist theory, that art and entertainment are not opposites, but form a loosely connected conceptual system. Against postmodernism, however, he insists on their vital differences.Hamilton begins by questioning the received modernist view, examining artist-entertainers including Jane Austen, Charles Dickens, Louis Armstrong and Billie Holiday. Entertainment, he argues, is by nature audience-centred – but so is art, in a different way. Thus while art should pass the test of time, entertainment must pass the test of its own time – it has to entertain at the time it is produced. Art and entertainment are inter-dependent concepts, and must be understood together with other aesthetic concepts including criticism, genius, canons and design. These concepts form the subject of later chapters of this book, where Hamilton develops a meritocratic position that is neither elitist nor populist. He also addresses the contemporary charge of cultural appropriation, and qualifies it.An innovative feature of the book is the inclusion of dialogues with artists, critics and academics that help to recast or reformulate the debate. Art and Entertainment: A Philosophical Exploration is essential reading for those working in art and aesthetics, and will also be of interest to those in related disciplines such as cultural studies, music and film studies, with an interest in entertainment.

Women on Philosophy of Art is the first study of women's philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as an agency of moral instruction, whereas Dilke and Lee argued that art must be made for beauty's sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled. Other topics explored are gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women's interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we can enrich and broaden our understanding of the history of philosophy of art.

Experiencing the Body in Yoga Practice: Meanings and Knowledge Transfer inspires more mindful and contemplative qualitative research on body and knowledge transfer in bodily practices in hatha yoga. The book explores the work of the mind, as well as the role of emotions and body sensations in perceiving reality and in reflecting on it. Procedures and research methods are an extension of our mind, which wants to reach into the social reality to describe it objectively. It usually refuses body and emotions. The techniques of sampling and representativeness are also tools of the mind. Using these tools, our contact with social reality produces emotions and feelings of the body. These phenomena surrounding the mind and body often go unnoticed during research and are only partially reported in the conclusions. Experiencing the Body in Yoga Practice: Meanings and Knowledge Transfer examines this gap. It presents the application of a contemplative way of thinking and proceeding in qualitative social research and a first-person perspective, focusing on experiencing lived body and knowledge transfer in hatha yoga. It analyzes how the mind focuses and stops working, proceeds in the finite province of the meaning of yoga, how the body produces emotions and deals with them during yoga sessions, and how the knowledge is transferred by using the body in some linguistic and cultural context. The book will be of interest to sociologists and social scientists who want to concentrate on and analyze the experiences of the body from contemplative and phenomenological perspectives. It is also key reading for all practitioners dealing with body and bodywork, such as in sports, recreational activities, physical education, rehabilitation, physical work, educational activities, etc.

This book provides a framework for thinking about foundational philosophical questions surrounding the use of deep artificial neural networks ('deep learning') to achieve artificial intelligence. Specifically, it links recent breakthroughs to classic works in empiricist philosophy of mind. In recent assessments of deep learning's potential, scientists have cited historical figures from the philosophical debate between nativism and empiricism, which concerns the origins of abstract knowledge. These empiricists were faculty psychologists; that is, they argued that the extraction of abstract knowledge from experience involves the active engagement of psychological faculties such as perception, memory, imagination, attention, and empathy. This book explains how recent deep learning breakthroughs realized some of the most ambitious ideas about these faculties from philosophers such as Aristotle, Ibn Sina (Avicenna), John Locke, David Hume, William James, and Sophie de Grouchy. It illustrates the utility of this interdisciplinary connection by showing how it can provide benefits to both philosophy and computer science: computer scientists can continue to mine the history of philosophy for ideas and aspirational targets to hit, and philosophers can see how some of the historical empiricists'most ambitious speculations can now be realized in specific computational systems.