Pentecostal Experience and art in a Collingwoodian frame

Long overlooked British philosopher R. G. Collingwood articulated a sophisticated expressivist theory of art that is receiving renewed interest in aesthetic circles. He locates true art within a sophisticated and comprehensive theory of mind, wherein the making and appreciation of art is intimately...

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Bibliographic Details
Main Author: Corby, Duncan (Author)
Format: Electronic Article
Language:English
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Published: Routledge, Taylor and Francis Group 2022
In: Journal of Pentecostal and charismatic Christianity
Year: 2022, Volume: 42, Issue: 1, Pages: 4-16
Further subjects:B Religious Experience
B Pentecostalism
B Collingwood
B expressivist theory
B Aesthetics
Online Access: Volltext (lizenzpflichtig)
Description
Summary:Long overlooked British philosopher R. G. Collingwood articulated a sophisticated expressivist theory of art that is receiving renewed interest in aesthetic circles. He locates true art within a sophisticated and comprehensive theory of mind, wherein the making and appreciation of art is intimately tied to the ‘expressing’ of feelings at the foundation of sensation. This provides a productive point of contact for Pentecostals whose experience of the Spirit falls within with his description of the mysterious feelings of consciousness. Within a Collingwoodian frame, Pentecostal language, especially in preaching and testimony, can be understood as aesthetic expression, with its reception by affective Pentecostal audiences akin to the apprehension of art with consequent communal benefits. Along such lines, utilizing Collingwood’s distinction between art-proper and art-falsely-so-called provides avenues for imagining and validating distinctly Pentecostal art as the expression of the Spirit in a way that is meaningful to both artistic and missional communities.
ISSN:2769-1624
Contains:Enthalten in: Journal of Pentecostal and charismatic Christianity
Persistent identifiers:DOI: 10.1080/27691616.2022.2042042