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Glenn Hughes [8]Glenn H. Hughes [1]
  1. Glenn Hughes (2014). Love, Terror, and Transcendence in Emily Dickinson's Poetry. Renascence 66 (4):283-304.
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  2. Glenn Hughes (2014). Response to Ranganathan. Journal of Religious Ethics 42 (4):776-782.
    This essay responds to Bharat Ranganathan's “Comment” on my essay, “The Concept of Dignity in the Universal Declaration of Human Rights” . Addressing key criticisms in this “Comment,” I make the following points. First, neither the idea of inherent dignity being “imparted” to humans, nor the Universal Declaration's implication—through its use of terms such as “inherent” and “inalienable”—that humans participate in transcendent reality, necessarily presuppose a Christian metaphysics. Second, a concept such as “inherent dignity” must be affirmed to be intrinsically (...)
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  3. Paul Caringella, Wayne Cristaudo & Glenn Hughes (eds.) (2012). Revolutions: Finished and Unfinished, From Primal to Final. Cambridge Scholars.
     
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  4. Glenn Hughes (2011). The Concept of Dignity in the Universal Declaration of Human Rights. Journal of Religious Ethics 39 (1):1-24.
    This essay examines the function of the concept of human dignity (both as an inherent feature of human existence and as an ideal achievement) in the United Nations's 1948 Universal Declaration of Human Rights. It explains why the key framers of the document affirmed an inherent human dignity in order to provide an explanatory basis for the validity of universal human rights while eschewing any religious or metaphysical justification for this affirmation. It argues that the key framers, while aware of (...)
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  5. Glenn Hughes (2011). Ulterior Significance in the Art of Bob Dylan. Journal of Macrodynamic Analysis 6.
    This essay examines the songwriting art of Bob Dylan as a vehicle for exploring and clarifying elements in Bernard Lonergan’s analysis of art. The elements focused upon include Lonergan’s treatment of symbols and symbolic meaning as the communicative medium of art, and, at greater length, Lonergan’s account of art’s capacity for what he calls “ulterior significance,” its ability to suggest depths of meaning—including divine or ultimate meaning—that we surmise to lie beyond our comprehension. Examining songs from the full range of (...)
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  6. Glenn Hughes (1997). Eric Voegelin, Ezra Pound and the Balance of Consciousness. Modern Schoolman 75 (1):1-21.
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  7. Glenn Hughes (1990). Eric Voegelin's View of History as a Drama of Transfiguration. International Philosophical Quarterly 30 (4):449-464.
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  8. Robert J. Nolan & Glenn H. Hughes (1973). An Analysis of Short-Term Memory in Familial Mental Retardates. Bulletin of the Psychonomic Society 1 (3):173-174.
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