The Necessity of Aesthetic Metanoia

Q2 Arts and Humanities
B. Brock
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引用次数: 0

Abstract

Put in the situation of needing to sum up what I wanted to say about disability without reducing it to something less complex than it is, I reached for a range of aesthetic themes, supremely, the category of wonder. Wonder is not solely an aesthetic category (Klink, 2020; McFarland, 2020), but does have stronger aesthetic aspects than I realized, which is no doubt why it attracted me as more capacious than the traditional doctrinal term it is expressing, revelation. I am extremely grateful that Stephen Wright has educated me as to precisely how my argument relies on aesthetic claims. It helps me understand what I am seeing when something appears strange or uncanny, prompting me to slow down and attempt to describe what I have seen in order to better appreciate what just happened. Wright also helped me to link up another set of inchoate impressions. One occurred during a visit to the supposed resting place of Paul’s bones in Rome, the Basilica of Saint Paul Outside the Walls. Before the door of the church stands a huge statue of Paul brandishing a long sword. Inside, the sanctuary is lined with rows of giant white marble statues labeled on their plinths as biblical saints. The bodies of these saints are indistinguishable from the statues of Greek gods. I have never imagined Paul as a physical Adonis (2 Corinthians 10:10), nor Jesus for that matter, who at his crucifixion fit the prophet’s description of the messiah as one who appalled onlookers, “so disfigured did he look that he seemed no longer human” (Is. 52:14, NJB; Matthew 27:30). I could not help thinking how jarring it would seem if one of the disabled saints that I know were carved in marble and placed in this lineup. The aesthetics dominating the space would position their bodies as embarrassingly disproportionate (an insight recently explored in secular sculpture, Brock, 2005). Wright explains that the problem is the Greek aesthetics of proportionality, insinuated into Christianity through the Neoplatonism of Pseudo Dionysius. This insight gives me language to articulate why it seemed intuitively important in Wondrously Wounded to draw out Augustine’s insistence that the link https://doi.org/10.1080/23312521.2022.2051678
审美蜕变的必要性
在需要总结我想说的关于残疾的东西而又不把它简化成比它更简单的东西的情况下,我找到了一系列美学主题,最重要的是,奇迹的范畴。奇迹不仅仅是一个美学范畴(Klink, 2020;McFarland, 2020),但确实比我意识到的有更强的审美方面,这无疑是为什么它吸引我的原因,因为它比它所表达的传统教义术语“启示”更广阔。我非常感谢斯蒂芬·赖特教育我,让我知道我的论点是如何依赖于美学主张的。它帮助我理解我所看到的东西,当一些事情显得奇怪或不可思议时,促使我放慢速度,试图描述我所看到的,以便更好地欣赏刚刚发生的事情。赖特还帮助我把另一组早期印象联系起来。其中一次是在参观罗马的圣保罗大教堂时发生的,那里被认为是保罗的遗骨安息之处。在教堂的门前矗立着一尊巨大的保罗挥舞着长剑的雕像。在圣殿内部,一排排巨大的白色大理石雕像在基座上标有圣经圣人的字样。这些圣人的身体与希腊诸神的雕像难以区分。我从来没有把保罗想象成一个身体上的阿多尼斯(哥林多后书10:10),也没有想到耶稣在被钉十字架时符合先知对弥赛亚的描述,他是一个震惊旁观者的人,“他看起来如此毁容,似乎不再是人”(以赛亚书52:14,NJB;马太福音27:30)。我不禁想,如果把我认识的一位残疾圣徒雕刻在大理石上,放在这排队伍里,那该有多不和谐啊。主导空间的美学将他们的身体定位为令人尴尬的不成比例(最近在世俗雕塑中探索的洞察力,布洛克,2005)。赖特解释说,问题是希腊的比例美学,通过伪狄奥尼修斯的新柏拉图主义渗透到基督教中。这一见解让我有语言来阐明为什么在《奇妙受伤》中引出奥古斯丁坚持认为两者之间的联系https://doi.org/10.1080/23312521.2022.2051678在直觉上很重要
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来源期刊
Journal of Disability and Religion
Journal of Disability and Religion Arts and Humanities-Religious Studies
CiteScore
0.80
自引率
0.00%
发文量
47
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