Pub Date : 2023-07-11DOI: 10.51619/stk.v99i2.25199
H. Ruin
N/A
N/A
{"title":"Mårten Björk, The Politics of Immortality in Rosenzweig, Barth and Goldberg: Theology and Resistance between 1914–1945","authors":"H. Ruin","doi":"10.51619/stk.v99i2.25199","DOIUrl":"https://doi.org/10.51619/stk.v99i2.25199","url":null,"abstract":"<jats:p>N/A</jats:p>","PeriodicalId":38534,"journal":{"name":"Svensk Teologisk Kvartalskrift","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45783760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.51619/stk.v99i1.25080
Ryszard Bobrowicz
N/A
N/A
{"title":"Elayne Oliphant, The Privilege of Being Banal: Art, Secularism, and Catholicism in Paris","authors":"Ryszard Bobrowicz","doi":"10.51619/stk.v99i1.25080","DOIUrl":"https://doi.org/10.51619/stk.v99i1.25080","url":null,"abstract":"<jats:p>N/A</jats:p>","PeriodicalId":38534,"journal":{"name":"Svensk Teologisk Kvartalskrift","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41317075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.51619/stk.v99i1.25073
M. Olin
In Das Heilige, Rudolf Otto discusses not only conceptual, but artistic parallels to the idea of the "numinous". The artistic styles and periods that he mentions are those admired by European literati and intellectuals of his time. They include the spare Chinese landscapes "of emptiness", made in the classical period of the Tang and Sung dynasties, as well as the gothic art that inspired the movement towards abstraction in the early twentieth century. Related ideas continue to pervade the discourse of champions of abstract art well into the twentieth century, as in in Michael Fried's exegesis of "presentness", in his essay "Art and Objecthood". Seemingly counterintuitively, ideas associated with the numinous also infiltrate discourses of the art of social justice. Some Jewish thinkers who referenced or absorbed Otto's ideas, translated them into relational notions or ethical ideas of responsibility. When these ideas seep into the contemporary discourse of social justice art, concepts of the numinous cling to them. An investigation of a significant work of art in the service of social justice reveals a connection between conceptual art, the numinous, and social justice that extends from the era of the early 1980s into our own time.
在《海利日》中，鲁道夫·奥托不仅讨论了概念上的，而且讨论了艺术上与“神圣”概念的相似之处。他所提到的艺术风格和时期，都是他那个时代的欧洲文人和知识分子所推崇的。这些作品包括唐代和宋代古典时期创作的中国“空之山水”，以及激发了20世纪早期抽象主义运动的哥特式艺术。直到20世纪，抽象艺术拥护者的话语中仍然充斥着相关的观点，比如迈克尔·弗里德(Michael Fried)在他的文章《艺术与客体》(art and Objecthood)中对“在场”的注释。似乎与直觉相反，与灵性相关的思想也渗透到社会正义艺术的话语中。一些犹太思想家参考或吸收了奥托的思想，将其转化为责任的关系观念或伦理观念。当这些思想渗透到当代社会正义艺术的话语中时，神圣的概念依附于它们。对一件为社会正义服务的重要艺术作品的调查揭示了观念艺术、精神艺术和社会正义之间的联系，这种联系从20世纪80年代初一直延伸到我们自己的时代。
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Pub Date : 2023-04-07DOI: 10.51619/stk.v99i1.25077
Graham Harvey
N/A
不适用
{"title":"Ive Brissman, Wild Enchantments in the Anthropocene: Exploring the Wild in Narratives, Practices and Place in Dark Green Spirituality","authors":"Graham Harvey","doi":"10.51619/stk.v99i1.25077","DOIUrl":"https://doi.org/10.51619/stk.v99i1.25077","url":null,"abstract":"<jats:p>N/A</jats:p>","PeriodicalId":38534,"journal":{"name":"Svensk Teologisk Kvartalskrift","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47195614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.51619/stk.v99i1.25074
In this article, I explore the experience of the sacred with a focus on how it is experienced through spatial categories, particularly buildings. My main aim is to show how this is an aesthetic experience in the sense of what is intuitively given through our senses. My perspective is phenomenological in that I am above all concerned with how the sacred is experienced, not with how it should be interpreted. Thus, I discuss some of the classic writers on the phenomenology of religion – Mircea Eliade and Rudolf Otto – as well as some of their critics – Jonathan Z. Smith and, indirectly, Erika Fischer-Lichte. In their respective contributions to our understanding of how the sacred manifests itself in spatial edifices, I find both the classics and their critics constructive but ultimately wanting: while the classic approaches emphasize the power of the sacred and its verticality, the critics' responses stress the performance of the sacred and its horizontality. My own contribution consists of a dialectic combination of the two: that the sacred is in some sense construed through the iterations of its performance does not exclude a sacred power that manifests itself through this very performance as a surplus. I conclude that there is a need for a phenomenology of numinous edifices that attends more concretely both to the actual materiality of the buildings in question, as this gives rise to different experiences of the sacred, as well as to the articulation and nuances of a multisensory experience of such buildings.
{"title":"Numinous Edifices","authors":"","doi":"10.51619/stk.v99i1.25074","DOIUrl":"https://doi.org/10.51619/stk.v99i1.25074","url":null,"abstract":"In this article, I explore the experience of the sacred with a focus on how it is experienced through spatial categories, particularly buildings. My main aim is to show how this is an aesthetic experience in the sense of what is intuitively given through our senses. My perspective is phenomenological in that I am above all concerned with how the sacred is experienced, not with how it should be interpreted. Thus, I discuss some of the classic writers on the phenomenology of religion – Mircea Eliade and Rudolf Otto – as well as some of their critics – Jonathan Z. Smith and, indirectly, Erika Fischer-Lichte. In their respective contributions to our understanding of how the sacred manifests itself in spatial edifices, I find both the classics and their critics constructive but ultimately wanting: while the classic approaches emphasize the power of the sacred and its verticality, the critics' responses stress the performance of the sacred and its horizontality. My own contribution consists of a dialectic combination of the two: that the sacred is in some sense construed through the iterations of its performance does not exclude a sacred power that manifests itself through this very performance as a surplus. I conclude that there is a need for a phenomenology of numinous edifices that attends more concretely both to the actual materiality of the buildings in question, as this gives rise to different experiences of the sacred, as well as to the articulation and nuances of a multisensory experience of such buildings.","PeriodicalId":38534,"journal":{"name":"Svensk Teologisk Kvartalskrift","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46739682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-07DOI: 10.51619/stk.v99i1.25072
Jorg Lauster
Approaching the numinous is something that has forged a deep bond between art and religion in European cultural history. In the wake of Kant and Schleiermacher, the German theologian Ulrich Barth elaborates four constitutive elements that distinguish both aesthetic and religious experience: Fullfillment of meaning, interruption, passivity, and transcendence. From Raphael to Caspar David Friedrich to Vincent van Gogh and Paul Cézanne, impressive examples can be found of how these dimensions oscillate between religion and art. Nevertheless, there is a limit: art can, but does not have to, approach the numinous. Art can act as an eye-opener, as a school of perception, as an initiation into what Robert Bellah calls "beyonding"; art can lift the veil that lies over our everyday perception. Religion lives from the numinous. The task of religion is to use symbolic, ritual, and conceptual means to present the mystery of the world and the prospect of salvation in a way that is so tangible and concrete that people can receive support and comfort for their lives from it.
在欧洲文化史上，接近神秘是在艺术和宗教之间建立起深厚联系的东西。继康德和施莱尔马赫之后，德国神学家乌尔里希·巴思阐述了区分审美体验和宗教体验的四个构成要素：意义的充实、中断、被动和超越。从拉斐尔（Raphael）到卡斯帕·大卫·弗里德里希（Caspar David Friedrich），再到文森特·梵高（Vincent van Gogh）和保罗·塞尚（Paul Cézanne。艺术可以让人大开眼界，成为一个感知学派，成为罗伯特·贝拉所说的“beyonding”的启蒙；艺术可以揭开我们日常感知的面纱。宗教源于神秘。宗教的任务是使用象征、仪式和概念手段，以一种有形和具体的方式呈现世界的神秘性和救赎的前景，使人们能够从中获得生活的支持和安慰。
{"title":"Metamorphosis","authors":"Jorg Lauster","doi":"10.51619/stk.v99i1.25072","DOIUrl":"https://doi.org/10.51619/stk.v99i1.25072","url":null,"abstract":"Approaching the numinous is something that has forged a deep bond between art and religion in European cultural history. In the wake of Kant and Schleiermacher, the German theologian Ulrich Barth elaborates four constitutive elements that distinguish both aesthetic and religious experience: Fullfillment of meaning, interruption, passivity, and transcendence. From Raphael to Caspar David Friedrich to Vincent van Gogh and Paul Cézanne, impressive examples can be found of how these dimensions oscillate between religion and art. Nevertheless, there is a limit: art can, but does not have to, approach the numinous. Art can act as an eye-opener, as a school of perception, as an initiation into what Robert Bellah calls \"beyonding\"; art can lift the veil that lies over our everyday perception. Religion lives from the numinous. The task of religion is to use symbolic, ritual, and conceptual means to present the mystery of the world and the prospect of salvation in a way that is so tangible and concrete that people can receive support and comfort for their lives from it.","PeriodicalId":38534,"journal":{"name":"Svensk Teologisk Kvartalskrift","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45989464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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