Aesthetic Experience as a Spiritual Support of Homo Post-Secularis
The essay begins with an analysis of the cultural situation of humanity after its transition to secular mentality and a gradual disenchantment with secularism, which leads to the formation of post-secular mentality. It further suggests that aesthetic experience traditionally served as a bridge betwe...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2019]
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| In: |
Religions
Year: 2019, Volume: 10, Issue: 4, Pages: 1-9 |
| Further subjects: | B
Beauty
B Theurgy B Faith B Aesthetic Experience B Species B Culture B Secularism B Wonder |
| Online Access: |
Volltext (doi) Volltext (kostenfrei) |
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| 520 | |a The essay begins with an analysis of the cultural situation of humanity after its transition to secular mentality and a gradual disenchantment with secularism, which leads to the formation of post-secular mentality. It further suggests that aesthetic experience traditionally served as a bridge between the secular and the religious/spiritual and can serve in this capacity again in the post-secular age. It outlines the main traits of the post-secular person (homo post-saecularis). Two aspects of aesthetic experience are emphasized: its in-depth penetration into nature in an attempt to achieve unity with it, and the aesthetic observation of artworks. In pursuing both of these aspects, the post-secular person attempts, just as Romantics and Symbolists previously, to grasp something invisible beyond visible forms and escape from banal reality into higher spiritual realms of being, ultimately experiencing him- or herself as having a place in the universe. Aesthetic experience, if it is correctly understood and practiced, can give all this to the present-day post-secular person. The rest of the essay is devoted to a brief history of twentieth-century views of art, mainly in French and Russian thought, that foreshadow its post-secular role, and to the author's authentic theoretical framework for understanding art and aesthetic experience, as well as his, equally authentic, program of how to achieve the post-secular function of art in practice for a present-day person. | ||
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