Thomas R. Martland - Religion as art: an interpretation
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Religion As Art : An Interpretation SUNY Series in Philosophy
author
:
Martland, Thomas R.
publisher
:
State University of New York Press
isbn10 | asin
:
087395520X
print isbn13
:
9780873955201
ebook isbn13
:
9780585093086
language
:
English
subject
Art and religion.
publication date
:
1981
lcc
:
N72.R4M33 1981eb
ddc
:
700/.1
subject
:
Art and religion.
Religion As Art: An Interpretation
SUNY Series in Philosophy Robert C. Neville, Editor
Religion As Art An Interpretation
T. R. Martland
State University of New York Press Albany
Page iv
Published by State University of New York Press, Albany
1981 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews.
For information. address State University of New York Press, State University Plaza, Albany, N.Y., 12246
Library of Congress Cataloging in Publication Data
Martland, Thomas R Religion as art.
Bibliography: p. Includes index. 1. Art and religion. I. Tule. N72.R4M33 700'.1 80-27104 ISBN 0-87395-520-X ISBN 0-87395-521-8 (pbk.)
10 9 8 7 6
Page v
Table of Contents
Preface
vii
Overture
1
Innocence
13
Fascination
27
Distance
43
Craft and Magic
65
Coalescence
87
Truth-To
109
Verification
133
Reprise
159
Notes
165
Index
209
Page vii
Preface
In the early Roman army, freemen of the lowest draftable rank were called accensi. In battle they would form behind the infantry in order to wait for someone in the front ranks to fall, whereupon they would pick up his sword and shield and join the battle.
I feel somewhat like an accensus: the only trouble being that the battlewhich is this bookhas been waged for so long a period, and has become so much a part of me, that I have forgotten whose swords and shields I have been using. Perhaps it will be obvious to all of you who read the book.
But I have not forgotten who has helped me in little skirmishes along the way, nor more importantly have I forgotten who has helped me wage the battle throughout. Gifts of time were provided by the State University of New York Research Foundation with its three Research Fellowships; technical and moral support was provided by William Eastman, Arnold Foster, John Gunnell, William Hedberg, Berel Lang, G. W. Linden, and Mercedes Randall. Critical, page-after-page support was provided by James S. Ackerman, Robert Neville, and John Herman Randall. It is they who are responsible for many of the merits which these pages reveal without in any way being responsible for the book's shortcomings. Alas, the shortcomings are mine, all mine.
Total support which includes all of the above, and then some, was provided by my friend Agatha, without whom none of the following would have been possible. I thank them all but it is to dear Agatha that I dedicate this book.
T. R. MARTLAND BARNET CENTER, VT.
Page 1
Overture1
The chapters which follow will consider religion as art. In them I argue that what art does, religion does. They both provide directions on how to see and indirectly on what to do. More specifically, the thesis of this study is that art and religion present collectively created frames of perception and meaning by which men interpret their experiences and order their lives. To follow a cue from Nelson Goodman, each presents something akin to the tailor's cloth swatch or sample, which displays the fabric itself rather than points to or illustrates another fabric that exists somewhere else. Art and religion, like Goodman's sample, display the swatches of 'reality' by means of which men see what 'is,' and from which they create their world. Rather than serving as illustrations which describe men's world, art and religion contribute the fabric of new worlds which men now come to see and understand as their world.2
My thesis is related to the rather frequently defended observation that art and religion are human enterprises by which individuals deal with their experiences, especially those experiences which, as Peter Berger points out, are "at the marginal situations in the life of the individual," where death is the "marginal situation par excellence."3 But I will take this observation in the opposite direction. Whereas more traditional research has focused upon how artists and religious people adjust to what already is, my findings, derived from classic formulations and expressions of art and religion, suggest that their activities create what is. As such, they are initiating actions, rather than reactions. The common religious rite of initiation is an example. As the word suggests, it is a way to begin, to commence, to originate. This is the import of Goodman's swatch, which is a sample. Art and religion
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