Patrick Hutchings

The paper concludes the argument that certain aesthetic objects conduce to a feeling of radical contingency, and to an openness to St Thomas's Third Way proof for the existence of God. Much is conceded to the late Mr Gershon Weiler's criticism of an earlier discussion. The upshot is (a) that Necessary Being as converse of radical contingency may be an Aesthetic Idea/Sublime of Kant's kind, and (b) that without the ‘I AM that I am’, it is empty. The ‘inference’ from radical contingency to Necessary Being may function as George Eliot thought Wit to function, intellectually/aesthetically.

Maxwell John Charlesworth, cofounder with Graeme E. de Graaff, of Sophia , died suddenly and peacefully at home on the second of June 2014. Born on the thirtieth of December 1925 in Numurkah, Victoria, Max took his MA in Philosophy at the University of Melbourne in 1948. At that time, the Melbourne Department of Philosophy was the preeminent school in Australasia. He married Stephanie Armstrong in 1950. Between 1950 and 1952, he was hospitalized for TB. On his recovery, he studied—1953–1955—at the University of Louvain, where he took his PhD avec la plus grande distinction. He was later to become Visiting Professor at the Katholieke Universiteit Leuven in 1972 and 2006. In 1956, he was appointed to a lectureship at the University of Auckland, New Zealand and returned to a position in his old University of Melbourne in 1959.A man of wide and deep interests, Max worked in the fields of Bioethics and Anthropology, as well as in Philosophy. He was a visiting Professor at the Maison d ..

A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in question, and Kant’s aesthetic which involves ‘the free play of the cognitive faculties’. In ths tension lies the particular pleasure of Steele’s poetry.

Christ’s name is often taken in vain, but not in this book title. It is at once a prayer and a cry of anguish. Robinson was deputed to deal with the whole abuse problem in the Archdiocese of Sydney and knows horrid things at first hand: abuse and clerical cover-ups, both.Bishop Robinson’s book is practical—if perhaps at the time of publication unduly sanguine. He calls, in chapter 13 for ‘A New Council for a New Church’ to enable to get the problem of sexual abuse fixed and for the Church to get out of its self-constructed ‘prison of the past’.See Confronting Power and Sex in the Catholic Church: Reclaiming the Spirit of Jesus, Melbourne, Garrett Publishing 2007: reviewed in Sophia, vol.47, pp.231–239 in 2008. See page 119 and passim. The authoritarian Church to date has not squarely faced, and not by any means fixed, the sexual abuse problem. It can do this, Robinson argues, only if it changes both its ways and its structures. Such a change, Robinson suggests, could happen if there we

A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in question, and Kant’s aesthetic which involves ‘the free play of the cognitive faculties’. In ths tension lies the particular pleasure of Steele’s poetry.

Hans Küng is a well-known, and harsh, critic of doctrine of papal infallibility declared at Vatican I, 1870–1871. It leads—he argues—not to transparent certainty, but away from it. A propos ‘infallibility’ and the still-running scandals of child sexual abuse by members of the Catholic clergy, he writes:…While Rome no longer dares to proclaim formally infallible doctrines, it still envelopes all of its doctrinal pronouncements with an aura of infallibility, as though the Pope’s words were a direct expression of God’s will or Christ’s voice.Instead—that is—of getting a formal assertion as in the case of the doctrine of the Assumption of the Blessèd Virgin Mary, we now get obita dicta, cranky stuff about being silent on the matter of the ordination of women, and so on set forth as ‘“almost” infallible. So just shut up!’Taizé is OK: but taise toi! will no longer do. We are all the ‘priestly people of God’ according to Vatican II. Küng does not use the ..

He’s a terrible fellow, but at least he’s got substance.—Erich Auerbach on HeideggerMy esteemed colleague Purushottama Bilimoria drew my attention to Shane Mackinlay’s ‘Heidegger’s Temple: How Truth Happens when Nothing is Portrayed’. My friend wondered whether my piece on ‘The Origin of the Work of Art: Heidegger’ in Sophia 51, no.4 (2012): 465–478 was a reply to Mackinlay. It was not.I had not in fact read Shane Mackinlay’s elegant essay. Having read it now, I do not entirely agree with it: Nor he, with my essay, no doubt. The Republic of Letters is wide open.The point perhaps that Bilimoria wanted to me to consider was that Mackinlay makes much of ‘nothing’, as did Bilimoria himself in his arrestingly titled, ‘Why is there Nothing rather than Something?’ (Sophia 51, no.4 (2012): 509–530). He, in conversation, has wanted me to make more of—the concept of?—nothing than I am accustomed to do. I doubt if I can rise to the challenge, beyond the Oxbridge ‘I don’t quite understand…’. If ev

Antonello da Messina’s Annunciation with the Blessèd Virgin sola breaks with iconic convention, so inviting new interpretations of the theme. The Rome exhibition of 2006 allowed one to compare Antonello with van Eyck: Antonello seemed pre-modern. This review discusses three important essays on the Annunciation (see the last three keywords). All three perceptive essays raise theological and phenomenological issues directly related to the almost unique iconic representation which Antonello gives us.