Considered by many to be one of the greatest philosophers of
religion and metaphysicians of the twentieth century, Charles
Hartshorne (1897-2000) addressed questions of aesthetics throughout
his long career. Yet his efforts in this area are perhaps the most
neglected aspect of his extensive and highly nuanced thought.
"Divine Beauty" offers the first detailed explication of
Hartshorne's aesthetic theory and its place within his theocentric
philosophy.
As Daniel A. Dombrowski explains, Hartshorne advanced a
neoclassical or process theism that contrasted with the "classical"
theism defended by traditionalist Jews, Christians, and Muslim
believers. His conception of God was dipolar, which could attribute
to God certain qualities that traditionalists would exclude. For
example, in Hartshorne's view, God can embrace excellent aspects of
both activity and passivity, or of permanence and change; classical
theists, on the other hand, exclude passivity and change from their
conceptions.
Dombrowski goes on to explain the ramifications of Hartshorne's
view of God for aesthetics, which for him had both broad and narrow
meanings: all sensory feeling or sensation, in the broad sense, and
a disciplined feeling for beauty, in the narrow sense. Included are
discussions on Hartshorne's famous appreciation for the aesthetics
of bird song; his view of beauty as a mean between two sets of
extremes; his idea of the aesthetic attitude, which concentrates on
values that are intrinsic and immediately felt; and the place of
death in his aesthetics, in which the value of our lives consists
in the beauty or intensity of experience that we contribute to the
divine life.
Filling an important gap in our understanding of Hartshorne,
"Divine Beauty" also makes a persuasive case for the superiority of
his neoclassical theism over classical theism.
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