FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W3176823009> ?p ?o ?g. }

• W3176823009 endingPage "214" @default.
• W3176823009 startingPage "212" @default.
• W3176823009 abstract "Religion & Literature 212 The Vision of the Soul: Truth, Goodness, and Beauty in the Western Tradition James Matthew Wilson Catholic University of America Press, 2017. ix + 354 pp. $29.95 paper. James Matthew Wilson’s The Vision of the Soul is organized into three sections that treat goodness, beauty, and truth. The first part consists of two chapters that address “The Real, the West, and the Good.” These chapters are crucial for establishing the centrality of both the role of intellectual (or, spiritual) “vision” and “the Christian Platonist tradition.” Near the end of the first chapter Wilson “meditate[s]” on the opening lines of Aristotle’s” Metaphysics as an account of “the whole history of hunger and happiness (56). The delight we take in our senses testifies to the universal hunger for knowledge, the happy meeting of our desire and the self-donation of “the reality of the things of this world. (57)” For Wilson, vision has a privileged place in this economy of gifts given and received. It indicates, against the teachings of the regnant prophets of suspicion (Marx, Nietzsche, and others ), that human nature is defined by its capacity to wonder at the gratuitous goodness of things, to delight in the truth of reality, and to discern the beautiful “shining forth of form” that holds these together (60). Wilson locates the mutual inherence of these transcendental properties of being in the “Christian Platonic” tradition (63). He rallies a diverse array of thinkers towards an articulation of the essence of this tradition and argues passionately for its enduring relevance. Here, Wilson emphasizes the human person’s place within a beautifully ordered whole that is capable of being known and loved because that whole “is itself ordered by and to Beauty” (73). Wilson enthusiastically celebrates the heroes of this tradition, admirably defends the breadth of their legacy, and denounces with rhetorical flourish those who would undermine it. Throughout these opening chapters, however, I was left with a certain unease with how easily the objects of our desires are discerned, how transparent to reason’s gaze this ordered whole appears, and the extent to which Wilson lyrically praises all the beauty to be found therein without acknowledging the prevalence of damage consequent upon the Fall. Wilson comes close to such an acknowledgement in his discussion of Pascal and Eliot (40-42), but dismisses far too quickly “the icy and stark light” in which both of these thinkers cast the plight of fallen humanity as such (not, as Wilson seems to suggest, humanity under modernity ’s sway) (41). Hopkins’s poetry, not to mention Wilson’s own, strikes the right balance in “hurrahing” a world that is “barbarous in beauty,” dotted with the “lovely behaviour of silk-sack clouds” that evoke the poet’s praise BOOK REVIEWS 213 (“Hurrahing the Harvest,” ll.1-3), but is also marred by the work of “the sour scythe” that makes us “cringe,” and the “the blear shame” that evokes lament (“The Wreck of the Deutschland,” II, l.8). In Part II, Wilson argues that beauty is not merely “a matter of sensation or taste,” nor is it exhaustively accounted for as the “psychological” or even “spiritual experience” of individual subjects (151). Rather, beauty is something intrinsic to the ontological “form” of things. The explicit political themes of Wilson’s “Introduction” and the essays of the first part are deepened here as conservatism is described as “something of a literary movement” ultimately concerned with “beauty, particularly literary beauty” (125). Although Edmund Burke is Wilson’s founding hero, his most engaging essays consist in a kind of dialogue between Theodor Adorno and Jacques Maritain. Wilson reads Adorno as deeply committed to both the truth and beauty of art, which derives not from the particular socially imposed “ideology,” but from “the intelligibility of the cosmos” (155). While Adorno’s historical (rather than ontological) theory of art and beauty falls short of Maritain’s more deeply Christian Platonist account (161), Wilson admires Adorno’s defense of “the integrity of artworks as manifesting truth in their inherent form” (167). Adorno’s “provisional” account of art and beauty affirms the seriousness of both, while gesturing inchoately towards the need for a..." @default.
• W3176823009 created "2021-07-05" @default.
• W3176823009 creator A5070433166 @default.
• W3176823009 date "2019-01-01" @default.
• W3176823009 modified "2023-10-17" @default.
• W3176823009 title "The Vision of the Soul: Truth, Goodness, and Beauty in the Western Tradition by James Matthew Wilson" @default.
• W3176823009 doi "https://doi.org/10.1353/rel.2019.0006" @default.
• W3176823009 hasPublicationYear "2019" @default.
• W3176823009 type Work @default.
• W3176823009 sameAs 3176823009 @default.
• W3176823009 citedByCount "0" @default.
• W3176823009 crossrefType "journal-article" @default.
• W3176823009 hasAuthorship W3176823009A5070433166 @default.
• W3176823009 hasConcept C107038049 @default.
• W3176823009 hasConcept C111472728 @default.
• W3176823009 hasConcept C138885662 @default.
• W3176823009 hasConcept C17744445 @default.
• W3176823009 hasConcept C182744844 @default.
• W3176823009 hasConcept C188370112 @default.
• W3176823009 hasConcept C199539241 @default.
• W3176823009 hasConcept C27206212 @default.
• W3176823009 hasConcept C2778999518 @default.
• W3176823009 hasConcept C2780573756 @default.
• W3176823009 hasConcept C2780620123 @default.
• W3176823009 hasConcept C2780822299 @default.
• W3176823009 hasConceptScore W3176823009C107038049 @default.
• W3176823009 hasConceptScore W3176823009C111472728 @default.
• W3176823009 hasConceptScore W3176823009C138885662 @default.
• W3176823009 hasConceptScore W3176823009C17744445 @default.
• W3176823009 hasConceptScore W3176823009C182744844 @default.
• W3176823009 hasConceptScore W3176823009C188370112 @default.
• W3176823009 hasConceptScore W3176823009C199539241 @default.
• W3176823009 hasConceptScore W3176823009C27206212 @default.
• W3176823009 hasConceptScore W3176823009C2778999518 @default.
• W3176823009 hasConceptScore W3176823009C2780573756 @default.
• W3176823009 hasConceptScore W3176823009C2780620123 @default.
• W3176823009 hasConceptScore W3176823009C2780822299 @default.
• W3176823009 hasIssue "1" @default.
• W3176823009 hasLocation W31768230091 @default.
• W3176823009 hasOpenAccess W3176823009 @default.
• W3176823009 hasPrimaryLocation W31768230091 @default.
• W3176823009 hasRelatedWork W1047160 @default.
• W3176823009 hasRelatedWork W2296584556 @default.
• W3176823009 hasRelatedWork W2323042479 @default.
• W3176823009 hasRelatedWork W2369184127 @default.
• W3176823009 hasRelatedWork W2386718279 @default.
• W3176823009 hasRelatedWork W2565127641 @default.
• W3176823009 hasRelatedWork W2616391455 @default.
• W3176823009 hasRelatedWork W3023572764 @default.
• W3176823009 hasRelatedWork W90066173 @default.
• W3176823009 hasRelatedWork W971553218 @default.
• W3176823009 hasVolume "51" @default.
• W3176823009 isParatext "false" @default.
• W3176823009 isRetracted "false" @default.
• W3176823009 magId "3176823009" @default.
• W3176823009 workType "article" @default.