The Aesthetics of Charles Hartshorne
Publication Year: 2004
Published by: Vanderbilt University Press
Abbreviations of Works by Charles Hartshorne
CHARLES HARTSHORNE WAS BORN in the nineteenth century and lived to philosophize in the twenty-first. Perhaps the most neglected aspect of his extensive and highly nuanced thought is his aesthetics, a discipline within philosophy to which he contributed as early as the 1920s in his Harvard doctoral dissertation (he minored in English literature at Harvard). His efforts in aesthetics . . .
Chapter 1: Historic and Thematic Background
WHEREAS THE INTRODUCTION LAID OUT in a preliminary way the concept of God that will be assumed throughout the book, the present chapter will sketch the historic and thematic background to Hartshorne’s aesthetics, concentrating on the background provided by Whitehead’s aesthetics as detailed by Sherburne, as an understanding of Hartshorne’s view is best facilitated via a consideration of where he agrees or disagrees with Whitehead (as well as with John Cobb, David Ray Griffin, Judith Jones, and other process thinkers). But I will also situate Hartshorne’s aesthetics vis-à-vis various scholars . . .
Chapter 2: Beauty As A Mean
ARISTOTLE IS RIGHTLY FAMOUS for his view that virtue consists in a mean between extremes, the latter being vices. To cite a contemporary example, some people are kind to friends, but neglect their civic duties; others support good causes, but they are unkind to personal associates. A virtuous person knows better. But the principle of moderation ...
Chapter 3: The Aesthetic Attitude
IN THE PRESENT CHAPTER I would like to highlight the fact that the aesthetic values treated in the previous chapter are aesthetic precisely because they are intrinsic and immediately felt. At the other extreme are what Hartshorne calls economic or ethical values, which are extrinsic (or instrumental) and eventual (as opposed to immediately ...
Chapter 4: Birdsong
IN CHAPTER 2 HARTSHORNE'S MODEL for aesthetic value was introduced; it was alleged to apply in a nonanthropocentric way. Eventually I will show in detail how it applies in the divine case; here I would like to show how it applies in a subhuman one. Both the aesthetic attitude discussed in Chapter 3 and the theme of beauty as a dual mean are ...
Chapter 5: Sensation/Feeling
IN THE PREVIOUS CHAPTER I TOOK A FIRST STEP toward an understanding of Hartshorne’s nonanthropocentric aesthetics by showing the intelligibility of claiming not only that birdsong can be appreciated by us in aesthetic terms but also that the best way we have of accounting for birdsong is in terms of both its evolutionary significance and the function song performs in the aesthetically rich emotional lives of birds themselves. In the following chapter I will continue the effort to understand Hartshorne’s nonanthropocentric aesthetic theory . . .
Chapter 6: Panexperientialism
IN THIS CHAPTER I WOULD LIKE TO FINISH the effort, initiated in Chapter 4, to examine Hartshorne’s nonanthropocentric aesthetic as it relates to subhuman reality. We are in a more favorable position to understand panexperientialism as a result of the connection between sensation and feeling treated in Chapter 5 . . .
Chapter 7: Beauty Merely in the Eye of the Beholder?
BEFORE MOVING EXPLICITLY TO THE AESTHETIC elements in religious experience and to divine beauty as Hartshorne sees them, it will be worthwhile to consider aesthetic relativism. This is a popular view, even among those who are not ethical relativists. Beauty is merely in the eye of the beholder, it will be alleged. (In any defensible view, beauty is in ...
Chapter 8: The Religious Dimensions of Aesthetic Experience
NOW THAT HARTSHORNE’S GENERAL VIEW of aesthetic experience is on the table for criticism, including his view of subhuman aesthetic experience, we are in a position to consider in particular the religious dimensions of aesthetic experience so as to prepare the way for the next chapter, where cosmic or divine beauty is considered. . .
Chapter 9: Absolute Beauty?
THE ANSELMIAN (AND HARTSHORNIAN) VIEW of God as one who surpasses all others is implied in God’s being the proper object of worship. But what does it mean to be the greatest being? If a loving being is superior to a nonloving one, then God must exhibit eminent love and other ethical qualities in the best way possible, Hartshorne emphasizes. But what if the value in question is not ethical but aesthetic? . . .
Chapter 10: Death and Contributionism
WE HAVE SEEN THAT TWO EXTREMES are to be avoided in our language about God, in Hartshorne’s view. One is that we could “capture” deity in a verbal formula that would eliminate doubt, and the other is that we cannot say anything coherent about God. The former extreme leads to dogmatism or idolatry, whereas the latter leads to agnosticism or atheism (EA, 39). In between these two extremes lies a judicious mean, he thinks, wherein three levels of discourse about God can be distinguished . . .
Page Count: 264
Publication Year: 2004
OCLC Number: 62195213
MUSE Marc Record: Download for Divine Beauty