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All Journal Melintas An International Journal of Philosophy and Religion
Simanjuntak, Mardohar B. B.
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Religion Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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Fondasi Kritik Karya Seni dari Perspektif Estetika Analitis Emansipatoris Noël Carroll Simanjuntak, Mardohar B. B.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 32 No. 2 (2016)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (287.588 KB) | DOI: 10.26593/mel.v32i2.2676.148-170

Abstract

Defining what an artwork is has been a recurrent theme in aesthetics, or to be more specific, in the philosophy of art. Yet this is proven to be no simple matter. Thus finding the definition of art has proven to be an elusive undertaking as works of art have always kept on eluding one definition after another. A strong definition might have proven to be illusory. An analytic aesthetician, Noël Carroll has undertaken a complex, if not ambitious, project opting to refute this conundrum in aesthetics by proposing another perspective that stems not from metaphysics but an epistemological one. He managed to show analytically that the epistemological approach is far less problematic and even offers a string of advantages at the praxis level. Carroll completed his proposal by revising two of the most powerful definition of art, that is, the Kantian aesthetic experience and the Levinsonian historical definition of art in those he emancipated the most essential foundation disinterestedness coined by Immanuel Kant, and set the modified definition in a trail of historical correctness. The mix between these two strong elements has amalgamated in a new breed proposed by Carroll in that he labels it historical narrative. This, for Carroll, is a better option over endless disputes over the speculated essence of an artwork and its criticism.
Disposisi Religio-Strategis Skemata Algoritma Mark C. Taylor dan Yuval Noah Harari Simanjuntak, Mardohar B. B.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 34 No. 1 (2018)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (281.27 KB) | DOI: 10.26593/mel.v34i1.3083.1-34

Abstract

Religion has probably been very influencial since the dawn of civilization. The next imperative question would be how something that has always been in the very discourse of human achievement stays in the centre stage for generations to come. To tackle this question, it is important to see what religion actually is related to its ability to manifest the self. The question can even be extended further by examining how the self – central to epistemological inquiries – be justified by the presence of consciousness. Constructing answers to this colossal undertaking of religious identity invites a thorough understanding of how human beings can be taken as conscious. The subsequent agenda is to determine whether consciousness lies within or – on the other way around – outside; whether it is naturally personal or else impersonal. Having dealt with these risky arguments allows us to slightly probe something in the future concerning the debatable fate of being a religious self. Both Mark C. Taylor’ rejuvenated schemata and Yuval Noah Harari’ reinvented algorhytms have provided an extra breathing space that facilitates broader chances for religion to further play a farther role in an even broader horizon of foreseeable possibilities.
Fondasi Kritik Karya Seni dari Perspektif Estetika Analitis Emansipatoris Noël Carroll Simanjuntak, Mardohar B. B.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 32 No. 2 (2016)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v32i2.2676.148-170

Abstract

Defining what an artwork is has been a recurrent theme in aesthetics, or to be more specific, in the philosophy of art. Yet this is proven to be no simple matter. Thus finding the definition of art has proven to be an elusive undertaking as works of art have always kept on eluding one definition after another. A strong definition might have proven to be illusory. An analytic aesthetician, Noël Carroll has undertaken a complex, if not ambitious, project opting to refute this conundrum in aesthetics by proposing another perspective that stems not from metaphysics but an epistemological one. He managed to show analytically that the epistemological approach is far less problematic and even offers a string of advantages at the praxis level. Carroll completed his proposal by revising two of the most powerful definition of art, that is, the Kantian aesthetic experience and the Levinsonian historical definition of art in those he emancipated the most essential foundation disinterestedness coined by Immanuel Kant, and set the modified definition in a trail of historical correctness. The mix between these two strong elements has amalgamated in a new breed proposed by Carroll in that he labels it historical narrative. This, for Carroll, is a better option over endless disputes over the speculated essence of an artwork and its criticism.
Disposisi Religio-Strategis Skemata Algoritma Mark C. Taylor dan Yuval Noah Harari Simanjuntak, Mardohar B. B.
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 34 No. 1 (2018)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v34i1.3083.1-34

Abstract

Religion has probably been very influencial since the dawn of civilization. The next imperative question would be how something that has always been in the very discourse of human achievement stays in the centre stage for generations to come. To tackle this question, it is important to see what religion actually is related to its ability to manifest the self. The question can even be extended further by examining how the self – central to epistemological inquiries – be justified by the presence of consciousness. Constructing answers to this colossal undertaking of religious identity invites a thorough understanding of how human beings can be taken as conscious. The subsequent agenda is to determine whether consciousness lies within or – on the other way around – outside; whether it is naturally personal or else impersonal. Having dealt with these risky arguments allows us to slightly probe something in the future concerning the debatable fate of being a religious self. Both Mark C. Taylor’ rejuvenated schemata and Yuval Noah Harari’ reinvented algorhytms have provided an extra breathing space that facilitates broader chances for religion to further play a farther role in an even broader horizon of foreseeable possibilities.
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