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Added by: Meilin Chinn
Summary: Saito presents the moral dimension of Japanese aesthetics in terms of two design principles: respect for the quintessential, innate characteristics of things and honor and responsiveness to human needs. She analyzes the sensitivity to objects and people at work in a wide range of Japanese arts and crafts, including garden design, haiku, painting, pottery, and food, emphasizing that the cultivation of a moral attitude toward things is often practiced through aesthetic means.Zagzebski, Linda. Omnisubjectivity2008, Jonathan Kvanvig (ed.) Oxford Studies in Philosophy of Religion Vol. 1.-
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Added by: Emily Paul
Summary: Zagzebski argues that traditional omniscience ought to be revised into 'omnisubjectivity', whereby God has 'perfect total empathy' with all conscious beings. She elaborates on what is meant by this, and makes the important qualification that when God has perfect total empathy, God is aware that God's empathetic state is a 'copy'. Zagzebski is motivated by conceiving of God as a personal being, who knows everything about God's creatures - including their conscious states. An analogy is drawn to Jackson's Mary the Colour Scientist - Mary's does not know 'what it is like' to see in colour when confined to her black and white room, in spite of knowing all propositional facts about colour science and seeing in colour. Similarly, with classical omniscience, God knows the truth value of every proposition, but does not know 'what it is like' to be each of God's creatures. Omnisubjectivity alleges to thus build on classical omniscience, whilst avoiding the worry that God (mistakenly) thinks that God actually is each conscious creature.Comment: Very useful for teaching about classical vs non-classical conceptions of God (omnisubjectivity being a 'non-classical' version of omniscience).
Zagzebski, Linda. Morality and Religion2005, in William J. Wainwright (ed.) The Oxford Handbook of Philosophy of Religion. Oxford: Oxford University Press.-
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Added by: Emily Paul
Chapter Introduction: Almost all religions contain a code of morality, and in spite of the factthat there are moral codes and philosophies that do not rely upon anyreligion, it has been traditionally argued that there are at least threeimportant ways in which morality needs religion: the goal of the morallife is unreachable without religious practice, religion is necessary toprovide moral motivation, and religion provides morality with itsfoundation and justification. These three ways in which morality may need religion are independent, but I argue that there are conceptual connectionsamong the standard arguments for them. I identify reasons for resistance tothe idea that morality needs religion and then turn to arguments for each ofthe three ways in which morality may need religion. All three are related toclassic forms of the moral argument for the existence of God. I conclude bycomparing classic Divine Command Theory with my Divine Motivation Theory andargue that the latter has advantages over the former in the way it providesa theological foundation for ethics.Comment: Useful to teach this after soliciting intuitions about whether religion is a suitable basis for morality - and the general relationship between religion and morality. Could perhaps follow a unit on Divine Command Theory and the Euthyphro Dilemma. Could lead to a nice seminar debate around the question of something like 'Is Religion a Suitable Basis for Morality'? It seems students are more inclined to answer 'no', but perhaps this article can do more to motivate debate from the 'yes' group of the debate.
Zeami Motokiyo. Zeami: Performance Notes2008, New York: Columbia University Press-
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Added by: Meilin Chinn
Publisher's Note: Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than thirty of the finest plays of no drama. He also wrote a variety of texts on theater and performance that have, until now, been only partially available in English. Zeami: Performance Notes presents the full range of Zeami's critical thought on this subject, which focused on the aesthetic values of no and its antecedents, the techniques of playwriting, the place of allusion, the training of actors, the importance of patronage, and the relationship between performance and broader intellectual and critical concerns. Spanning over four decades, the texts reflect the essence of Zeami's instruction under his famous father, the actor Kannami, and the value of his long and challenging career in medieval Japanese theater. Tom Hare, who has conducted extensive studies of no academically and on stage, begins with a comprehensive introduction that discusses Zeami's critical importance in Japanese culture. He then incorporates essays on the performance of no in medieval Japan and the remarkable story of the transmission and reproduction of Zeami's manuscripts over the past six centuries. His eloquent translation is fully annotated and includes Zeami's diverse and exquisite anthology of dramatic songs, Five Sorts of Singing, presented both in English and in the original Japanese.Comment: A compilation of writings on performance by the Japanese playwright, actor, and aesthetician, Zeami Motoyiko. His work addresses the principles of nō theater, including dramatic imitation, music, and movement, as well as ideas from Japanese philosophical aesthetics such as yūgen (“dark” or “mysterious”). Zeami also maintains a focus throughout his writings on jo-ha-kyū, a style of movement found in many Japanese arts, including theater, tea ceremony, and martial arts. This text is best used in a course on aesthetics, especially theater and cross-cultural aesthetics.
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Yuriko Saito. The Moral Dimension of Japanese Aesthetics
2007, Journal of Aesthetics and Art Criticism 65(1): 85–97.
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Comment: This text is appropriate for a course on Japanese aesthetics and/or philosophy. It would work well in a cross-cultural discussion of everyday aesthetics and the relationship between ethics and aesthetics.