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Peter Kreeft on Original Sin

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This interpretation (of the Sermon on the Mount) naively assumes what all of history disproves, that we broken bricks can constitute an unbroken building if only we have an unbroken blueprint. Malcolm Muggeridge says, more realistically, that the most unpopular of all Christian dogmas is the one that is most empirically verifiable, the dogma of Original Sin.

Peter Kreeft on the Point of Christianity

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What’s missing here? Simply the essence of Christianity, which is not the Sermon on the Mount. When Christianity was proclaimed throughout the world, the proclamation was not “Love your enemies?” but “Christ is risen!” This was not a new ideal but a new event, that God became man, died, and rose for our salvation. Christianity is first of all not ideal but real, and event, news, the gospel, the “good news.” The essence of Christianity is not Christianity; the essence of Christianity is Christ… The Sermon on the Mount not only comes from Jesus but also leads us to Jesus. It does not divert us from Jesus to a set of abstract ideals, but its ideals lead us to Jesus. who alone can fulfill them in us, if we let him. The sermon is an arrow and Jesus is the bull’s eye, not vice versa.

Richard Brian Miller on War and Morality

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The initial relevance of the traditional doctrine [of just war] today lies in its value as the solvent of false dilemmas. Our fragmentized culture seems to be the native soil of this fallacious and dangerous type of thinking. There are,first of all, the two extreme positions, a soft sentimental pacifism and a cynical hard realism. Both of these views, which are also "feelings," are formative factors in the moral climate of the moment. Bot of them are condemned by the traditional doctrine as false and pernicious. The problem is to refute by argument the false antinomy between ware an morality that they assert in common, thought in different ways. The further and more difficult problem is to purify the public climate of the miasma that emanates from each of them and tends to smother the public conscience.

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John Searle on Naturalizing Content

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So far no attempt at naturalizing content has produced an explanation (analysis, reduction) of intentional content that is even remotely plausible. A symptom that something is radically wrong with the project is that intentional notions are inherently normative. They set standards of truth, rationality, consistency, etc., and there is no way that these standards can be intrinsic to a system consisting entirely of brute, blind, nonintentional causal relations. There is no mean component to billiard ball causation. Darwinian biological attempts at naturalizing content try to avoid this problem by appealing to what they suppose is the inherently teleological, normative character of biological evolution. But this is a very deep mistake. There is nothing normative or teleological about Darwinian evolution. Indeed, Darwin’s major contribution was precisely to remove purpose, and teleology from evolution, and substitute for it purely natural forms.

Justice Anthony Kennedy on Liberty and Defining Meaning

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Our law affords constitutional protection to personal decisions relating to marriage, procreation, contraception, family relationships, child rearing, and education. Our cases recognize “the right of the individual, married or single, to be free from unwarranted governmental intrusion into matters so fundamentally affecting a person as the decision whether to bear or beget a child.” Our precedents “have respected the private realm of family life which the state cannot enter.” These matters, involving the most intimate and personal choices a person may make in a lifetime, choices central to personal dignity and autonomy, are central to the liberty protected by the Fourteenth Amendment. At the heart of liberty is the right to define one’s own concept of existence, of meaning, of the universe, and of the mystery of human life. Beliefs about these matters could not define the attributes of personhood were they formed under compulsion by the State.

Basil Mitchell on the Theatre of Irrevocable Choices

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I looked at the Gita and was deeply moved, as who could fail to be, but I was not convinced. When it came to the point I found myself quite unable to believe that what happened in the world as the result of my actions was not of ultimate importance. To be sure it mattered little what I, as a single individual, did as the German tanks rolled into France, but what thousands like me did might make a crucial difference to the course of human history. At that moment I discovered myself to be profoundly occidental. ¶ I do not suppose that even now I can render fully explicit what lay behind that conviction, but it had, I believe, something to do with the Christian pattern of Creation and Redemption and a consequent vision of the world as the theatre of irrevocable choices.

Knowledge of God

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In this essay I shall explore the possibilities for knowledge of God that are opened up by recent developments in epistemology that go under the title externalism; more specifically, I shall be concerned with the version of externalism known as reliabilism. I shall set this up with a consideration of how those possibilities look from a more internalist epistemological stance. I shall be working from within the Christian tradition, though I take my remarks to have a wider bearing.

The Justification of Theism

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Why believe that there is a God at all? My answer is that to suppose that there is a God explains why there is a world at all; why there are the scientific laws there are; why animals and then human beings have evolved; why humans have the opportunity to mould their characters and those of their fellow humans for good or ill and to change the environment in which we live; why we have the well-authenticated account of Christ’s life, death and resurrection; why throughout the centuries men have had the apparent experience of being in touch with and guided by God; and so much else. In fact, the hypothesis of the existence of God makes sense of the whole of our experience, and it does so better than any other explanation which can be put forward, and that is the grounds for believing it to be true. This paper seeks to justify this answer; it presents in summary arguments given in more detailed form in my book The Existence of God,1 and seeks to rebut criticisms of those arguments given in J.L. Mackie’s book The Miracle of Theism.2

The Power of Images

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Analyzing images and aesthetic treatises, Freedberg (art history, Columbia) sets out historical and anthropological evidence for human responses, ranging from religious to sexual ones, that recur through
the centuries. He gives particular attention to the increasing association of art and religious behavior in the Middle Ages and Renaissance. "This learned and heavy volume should be placed on the shelves of every art historical library." ~ E. H. Gombrich, New York Review of Books. "This is an engaged and passionate work by a writer with powerful convictions
about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition." ~ Arthur C. Danto

Albert Camus on Suicide and Absurdity

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In a sense, and as in melodrama, killing yourself amounts to confessing. It is confessing that life is too much for you or that you do not understand it. Let’s not go too far in such analogies, however, but rather return to everyday words. It is merely confessing that that “is not worth the trouble.” Living, naturally, is never easy. You continue making the gestures commanded by existence for many reasons, the first of which is habit. Dying voluntarily implies that you have recognized, even instinctively, the ridiculous character of that habit, the absence of any profound reason for living, the insane character of that daily agitation, and the uselessness of suffering. ¶ What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.