This paper defends a unique understanding of the nature and purpose of "art" or "the arts." It goes beyond standard typologies of the arts as music, poetry, epic poetry, theater, painting, sculpture, architecture, and so on. It goes beyond the views of David Hume and Immanuel Kant, who thought of the arts as leisure time activities that stimulate the senses in some way and add a certain quality of human life. For Hume and Kant, the truly serious human endeavor was scientific inquiry, whether understood as Hume's empirical skepticism or Kant's a priori rationalism. In both cases, scientific inquiry is the only path to truth. For Kant, science is emotionally detached, universally true, objective, and the cause behind a new level of human evolution. For an empiricist, science is based on data that is collected and distorted with as little emotional and cultural bias as possible. The arts, by contrast, are expressions and reflections of emotions and cultures.
Both philosophers enjoyed the arts and thought of them as part of a complete human life, but they both trivialized the nature and power of the arts. They insisted upon detaching the arts of earlier societies from any claims about a supernatural realm and the connection between human nature, nature, and some kind of deity or deities.They do not give us scientific knowledge or knowledge about the ultimate meaning of human life. For Hume, we have no such knowledge. For Kant, the exercise of human reason and the indirect proof from the exercise of reason to the belief in God is the proper way to address questions of ultimate meaning. Religious belief is based on reason and our knowledge of its limits and must be separated from emotion and the arts.
Ancient societies, in contrast, took the arts much more seriously. The painting, sculpture, music, architecture, and so forth of ancient cultures was dedicated to leading the human psyche from the world of sense to a more profound, spiritual world.
Table of Contents
Introduction
Part One: Creating the Social Institutions and Traditions that Nurture a Culture of Spiritual Humanism
Part Two: Daily Activities in a Cultural Climate
Respecting and Exercising the Powers of the Human Soul Given to Humans by the Gods
Part Three: Institutions Outside of Athens
The Nurtured International Spiritual Humanism
Conclusion
Objectives and Topics
This paper examines the role of art and artistic expression within the context of ancient Greek "spiritual humanism." It challenges the Enlightenment perspectives of Hume and Kant, arguing that for the ancient Greeks, art, philosophy, and political institutions were integrated elements of a life dedicated to the pursuit of wisdom and the cultivation of the soul.
- The concept of "spiritual humanism" in ancient Greek culture.
- The integration of art, ethics, and political life in Athens.
- Critique of the separation between aesthetic appreciation and rational moral development.
- The pedagogical function of tragedy and the arts in Greek society.
- The role of external institutions like the Olympic Games and the Oracle at Delphi.
Excerpt from the Book
Respecting and Exercising the Powers of the Human Soul Given to Humans by the Gods
The ancient Greeks believed that the gods give to human beings the powers they use to create every type of human artifact. Besides the standard notion of such creative arts as music and poetry, the gods also give humans the powers to create artifacts necessary for human life. The texts of Greek paideia describe both gods and human beings engaged in all types of production and doing so in ways that are either corrupt or wise. The Greeks knew intuitively that all human choices and actions can be part of a life dedicated to the higher realm of spiritual humanity or can be dedicated to the achievement of irrational, barbaric goals. Human excellence requires complete integration of emotion, action, and thought.
Some human activities are types of production that lead to a marketable object. One example Socrates used is that of Hephaestus, god of the forge, who was a craftsman who made marketable products, including swords, shields, and horseshoes. Other examples he used are the making of shoes and the building of ships. Each product can be made well or poorly. Someone can be skilled at making shoes or not very good at it. One might call this the level of technical expertise. But what is a 'good' shoe? Greek paideia would identify a good shoe as one that performs its function well. It meets the natural human need for shoes. A good ship performs its function as a ship.
Summary of Chapters
Introduction: This chapter introduces the thesis that ancient Greek art was fundamental to the cultivation of a spiritual and rational human life, contrasting this with modern views that treat art as merely leisure or emotionally detached.
Part One: Creating the Social Institutions and Traditions that Nurture a Culture of Spiritual Humanism: This section explores how Greek institutions, literature, and social traditions were designed to foster practical wisdom and encourage citizens to live examined, socially responsible lives.
Part Two: Daily Activities in a Cultural Climate: This chapter examines how everyday craftsmanship and artistic production reflect the internal state of the individual and the cultural values of the city, emphasizing the necessity of integrating wisdom into all professional and personal activities.
Part Three: Institutions Outside of Athens: This section investigates trans-regional institutions like the Olympic Games and the Oracle at Delphi, showing how they promoted a unified vision of human excellence, self-knowledge, and moderate behavior across different city-states.
Conclusion: The final chapter synthesizes the arguments, reaffirming that the true purpose of art and education is to align human actions with the pursuit of wisdom, justice, and the good life within a cohesive society.
Keywords
Spiritual humanism, Greek paideia, Practical wisdom, Socrates, Plato, Virtue, Aesthetic appreciation, Civic duty, Human excellence, Hephaestus, Rationality, Institutions, Cultural flourishing, Art, Soul.
Frequently Asked Questions
What is the central focus of this research?
The work focuses on the nature and purpose of art within ancient Greek society, specifically arguing that art was an essential tool for the intellectual and moral development of citizens.
What does the author mean by "spiritual humanism"?
It refers to a specific Greek worldview where the human pursuit of wisdom and the realization of one's full potential were seen as naturally integrated with the divine and the broader cosmic order.
What is the primary objective of the study?
The objective is to understand how the ancient Greeks used institutions and the arts to cultivate "practical wisdom" and to explore why they viewed these elements as inseparable from a well-lived life.
Which scientific or philosophical method is employed?
The author uses a historical and textual analysis of classic Greek sources, including the works of Homer, Plato, and Hesiod, to interpret the cultural climate of the time.
What is covered in the main body of the text?
The body covers social institutions in Athens, the ethics of craft and daily production (such as the work of the shoemaker), and the influence of pan-Hellenic sites like Delphi and the Olympic Games.
Which keywords characterize this study?
Key terms include spiritual humanism, paideia, practical wisdom, civic virtue, and the integration of the soul.
How does the author characterize the role of the artisan, such as the shoemaker?
The author argues that the artisan is not merely a producer of goods but must also exercise practical wisdom, ensuring their work contributes to the well-being of the city rather than merely serving individual greed.
What role did the Oracle at Delphi play in Greek society according to the text?
The Oracle served as an educational institution that encouraged suppliants to practice moderation and self-knowledge, requiring them to take responsibility for interpreting guidance rather than simply being told what to do.
What is the author's critique of the modern "mind-body problem"?
The author argues that such a problem did not exist in Greek culture because the Greeks operated on a correspondence theory where the powers of the human soul mirrored the order of the cosmos.
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- Dr. Martin Mares (Autor:in), 2013, The Art of Creating a Free City, München, GRIN Verlag, https://www.grin.com/document/495598
