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  1. Patrick Hutchings (forthcoming). Hans Küng, Can We Save the Catholic Church!? London, William Collins, 2013, 345 Pp. An Open Letter to Pope Francis? Or 'Sleepers Awake!'. [REVIEW] Sophia:1-10.
    Hans Küng is a well-known, and harsh, critic of doctrine of papal infallibility declared at Vatican I, 1870–1871. It leads—he argues—not to transparent certainty, but away from it. A propos ‘infallibility’ and the still-running scandals of child sexual abuse by members of the Catholic (and other) clergy, he writes:…While Rome no longer dares to proclaim formally infallible doctrines, it still envelopes all of its doctrinal pronouncements with an aura of infallibility, as though the Pope’s words were a direct expression of (...)
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  2. Patrick Hutchings (2014). A Note on 'Heidegger's Temple: How Truth Happens When Nothing is Portrayed', by Shane Mackinlay, in Sophia 49, No.4 (2010): 499–507. [REVIEW] Sophia 53 (1):145-150.
    He’s a terrible fellow, but at least he’s got substance.—Erich Auerbach on HeideggerMy esteemed colleague Purushottama Bilimoria drew my attention to Shane Mackinlay’s ‘Heidegger’s Temple: How Truth Happens when Nothing is Portrayed’. My friend wondered whether my piece on ‘The Origin of the Work of Art: Heidegger’ in Sophia 51, no.4 (2012): 465–478 was a reply to Mackinlay. It was not.I had not in fact read Shane Mackinlay’s elegant essay. Having read it now, I do not entirely agree with it: (...)
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  3. Patrick FitzGerald Hutchings (2014). Review of Bishop Geoffrey Robinson, For Christ's Sake: End Sexual Abuse in the Catholic Church … for Good. [REVIEW] Sophia 53 (1):151-157.
    Christ’s name is often taken in vain, but not in this book title. It is at once a prayer and a cry of anguish. Robinson was deputed to deal with the whole abuse problem in the Archdiocese of Sydney and knows horrid things at first hand: abuse and clerical cover-ups, both.Bishop Robinson’s book is practical—if perhaps at the time of publication unduly sanguine. He calls, in chapter 13 for ‘A New Council for a New Church’ to enable to get the (...)
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  4. Patrick Hutchings (2012). In the Beginning… Was a Cyclostyled Sophia. Sophia 51 (4):417-418.
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  5. Patrick Hutchings (2012). 'The Origin of the Work of Art': Heidegger. Sophia 51 (4):465-478.
    Professor Max Charlesworth and I worked, at Deakin University, on a course, 'Understanding Art'. Max was interested in the Social History of Art and in art as: 'giving form to mere matter'. Here 'form' might be read as 'lucid', 'exemplary', 'beautiful' etcetera. I am an Aristotle Poetics 4 man '… imitating something with the utmost veracity in a picture', and an Aristotle and John Cage man: 'Art is the imitation of nature in the manner of operation. Or a net'. (Cage) (...)
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  6. Patrick Hutchings (2012). The Tree of Life Written and Directed by Terrence Malick, Palme d'Or, Cannes 2011. Sophia 51 (1):137-138.
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  7. Patrick Hutchings (2011). Hazel Rowley: Obituary. Sophia 50 (2):313-313.
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  8. Patrick Hutchings (2010). Postlude: Panentheism. [REVIEW] Sophia 49 (2):297-300.
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  9. Patrick Hutchings (2009). Antonello da Messina: L' Opera Completa. Sophia 48 (1):59-76.
    Antonello da Messina’s Annunciation with the Blessèd Virgin sola breaks with iconic convention, so inviting new interpretations of the theme. The Rome exhibition of 2006 allowed one to compare Antonello with van Eyck: Antonello seemed pre-modern. This review discusses three important essays on the Annunciation (see the last three keywords). All three perceptive essays raise theological and phenomenological issues directly related to the almost unique iconic representation which Antonello gives us.
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  10. Patrick Hutchings (2009). Review of Peter Steele, White Knight with Beebox: New and Selected Poems. [REVIEW] Sophia 48 (4):517-518.
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  11. Patrick Hutchings (2009). 'Why is There Something Rather Than Nothing?' The Big Question. Sophia 48 (4):479-489.
    A review article on Leszek Kołakowski’s, ‘ Why is There Something Rather Than Nothing ?’ centering on Leibniz’s famous Question.
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  12. Patrick Hutchings (2009). What is the Good/ Good of the Form of the Good? Sophia 48 (4):413-417.
    ‘Good’ is nothing specific but is transcendentally or generally applied over specific, and specified, ‘categories’. These ‘categories’ may be seen—at least for the purposes of this note—as under Platonic Forms. The rule that instances under a category or form need a Form to be under is valid. It may be tautological: but this is OK for rules. Not being specific, however, ‘good’ neither needs nor can have a specifying Form. So, on these grounds, the Form of the Good is otious. (...)
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  13. Patrick FitzGerald Hutchings (2008). Confronting Power and Sex in the Catholic Church: Reclaiming the Spirit of Jesus , by Bishop Geoffrey Robinson, Victoria, 32 Glenvale Crescent, Mulgrave, 3170, Garrett Publishing, 2007: (First Edition & Reprint). [REVIEW] Sophia 47 (2):231-239.
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  14. Patrick FitzGerald Hutchings (2008). Postscript to Bishop Geoffrey Robinson Book Review. Sophia 47 (2):241-241.
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  15. Patrick Hutchings (2007). Listening to Pictures. Sophia 46 (2):193-198.
    A review of Peter Steele’s: The Whispering Gallery: Art into Poetry, in which Steele writes poems on and to paintings and the sculpture Black Sun (By Inge King) in the National Gallery of Victoria, Melbourne, Australia. Each work on which there is a poem is reproduced. In this book Steele writes more to the ‘contour’ of the topic-work than he did in Plenty. His poems – as ever sidenoted – are tensed between the topicality of the work of art in (...)
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  16. Patrick Hutchings (2007). Review of Kirk Varnedoe, Pictures of Nothing: Abstract Art Since Pollock. [REVIEW] Sophia 46 (3):313-314.
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  17. Patrick Hutchings (2007). Speaking to Pictures. Sophia 46 (1):79-89.
    A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.
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  18. Patrick FitzGerald Hutchings (2007). An Unhappy Benediction. Sophia 46 (3):215-216.
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  19. Patrick FitzGerald Hutchings (2006). Nature and Nature's God. Sophia 45 (1):1-4.
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  20. Patrick FitzGerald Hutchings (2006). Words Mis-Taken. Sophia 45 (2):3-3.
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  21. Arvind Sharma, Philip H. Wiebe, Gregory E. Ganssle & Patrick Hutchings (2006). Book Reviews. [REVIEW] Sophia 45 (1):121-127.
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  22. Zain Ali, Max Charlesworth, Hans-Georg Moeller, Christopher W. Gowans, Shalom Goldman, Dmitry A. Olshansky, Sor-hoon Tan & Patrick Hutchings (2005). Book Reviews. [REVIEW] Sophia 44 (2):71-87.
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  23. Patrick Hutchings (2005). Tsunami S.E. Asia 26 December 2004. Sophia 44 (1):5-6.
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  24. Patrick Hutchings (2005). The Shield of Pallas: The Virtual Contemplation of the Human Soul: The Aesthetic of Fr. Arthur Little S.J. (1887–1949). Sophia 44 (1):105-124.
    This paper explores the extreme but well-argued-for thesis that the indirect object of an aesthetic experience of serious art is the human soul of the person having the experience. The author of the thesis was Fr. Arthur Little S.J. a mid twentieth-century Irishman, professional philosopher and philosophical popularizer. The paper treats Little’s thesis seriously: comparisons are drawn with Kant, which may be of interest even to those hostile to Little’s central assertion. Little makes a brilliant analysis of a ‘free-beauty’, making (...)
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  25. Patrick FitzGerald Hutchings (2004). 'The Catholic Church and Condoms': His Eminence Alfonso Lopez Cardinal Trujilo Appears on 'BBC Panorama' in 2003 and 2004. Sophia 43 (2):1-3.
    The Theological Consequence is of a more scandalous nature for Catholic ‘insiders’—the literate laity etc.etc.—than is the ‘mere’ ‘Humanist’ one. The pair together can to ‘Evangalisation’ no good at all.The Eminence, who on the BBC programme looks slightly comic. is, when one reflects a very disquieting figure indeed. So: A squib is comic: a serious one is, serious.Note the ‘BBC Panorama’ presentations have been seen in Australia, and so, possibly, in other countries in which this Journal is read.
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  26. Joseph A. Bulbulia, Kristen Kingfield Kearns, Ilsup Ahn, Peter Forrest, Stephen R. Napier, Graeme Marshall & Patrick Hutchings (2003). Book Reviews. [REVIEW] Sophia 42 (1):125-126.
    Book Review. . ???aop.label???. doi: 10.1080/00048402.2014.929720.
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  27. Patrick Hutchings (2003). Natural Theology: Wit, the Electric Shock, the Aesthetic Idea—and a Belated Acknowledgment of Points Made by the Late MR Gershon Weiler. Sophia 42 (1):9-26.
    The paper concludes the argument that certain aesthetic objects conduce to a feeling of radical contingency, and to an openness to St Thomas's Third Way proof for the existence of God. Much is conceded to the late Mr Gershon Weiler's criticism of an earlier discussion. The upshot is (a) that Necessary Being as converse of radical contingency may be an Aesthetic Idea/Sublime of Kant's kind, and (b) that without the ‘I AM that I am’, it is empty. The ‘inference’ from (...)
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  28. Patrick Hutchings (2002). 11 September and the 's[Ublime]' Word. Sophia 41 (1):71-72.
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  29. Patrick Hutchings (1999). The Sublimes and Natural Theology-Kant as a Criticalvisionary? Lyotard as the Discoverer of a New Sublime? And That Sublime Both Leibnizian and Crypto-Thomist? Sophia 38 (2):15-35.
  30. Paul Rule, Patrick Hutchings, Reg Naulty, Joseph LaPorte, Purushottama Bilimoria, Renee Abbott, Peter Kakol, Rob Harle & V. L. Krishnamoorthy (1999). Reviews. [REVIEW] Sophia 38 (1):122-166.
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  31. Stan van Hooft, Andrew Alexandra, James L. Fredericks, Robert Magliola, Brian Scarlett, Andrew Irvine, Wenche Ommundsen & Patrick Hutchings (1998). Review Discussion. Sophia 37 (2):129-175.
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  32. Winifred Wing Han Lamb, Stan van Hooft, Patrick Hutchings, Marcel Sarot & Marion Maddox (1996). Reviews & Discussions. Sophia 35 (2):99-118.
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  33. Patrick Hutchings (1995). The Old and the New Sublimes: Do They Signify? God? Sophia 34 (1):49-64.
    It is not the case that God is interestingly like the unavailable transcendental signified in being unavailable. God always was absconded. The signified may not even really have gone away at all. And if it has, it is not God; it is only like Him in having gone away. And it has gone away, if it has, in a different mode of ‘going away’.To use a Turneresque metaphor: God is and will always be another, far, range behind the misty-but-glittering and (...)
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  34. Patrick Hutchings (1994). EQUUS and the Concept of Worship. Sophia 33 (1):14-31.
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  35. Patrick Hutchings (1991). Why Natural Theology, Still, Yet? Sophia 30 (1):3-7.
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  36. Keith Ward & Patrick A. Hutchings (1974). Kant on Absolute Value: A Critical Examination of Certain Key Notions in Kant's Groundwork of the Metaphysics of Morals and of His Ontology of Personal Values. Philosophical Quarterly 24 (95):172.
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  37. Patrick Ae Hutchings (1970). Imagination: "As the Sun Paints in the Camera Obscura". Journal of Aesthetics and Art Criticism 29 (1):63-76.
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  38. Patrick Æ Hutchings (1969). Peter Hurd's Fences and the Boundaries of Surrealism. British Journal of Aesthetics 9 (1):39-59.
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  39. Patrick Æ Hutchings (1967). The Language of Criticism. Philosophical Studies 16:323-325.
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  40. Patrick Æ Hutchings (1967). Works of Art and the Ontology of Analogy. Philosophical Studies 16:82-103.
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  41. Patrick Æ Hutchings (1966). S T Coleridge and the Desolation of Aesthetics. Philosophical Studies 15:7-27.
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  42. Patrick Æ Hutchings (1965). What Does "Good" Tell Me? Ethics 76 (1):47-52.
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  43. Patrick Hutchings (1964). The Philosophers' God, and Mr. Weiler. Sophia 3 (1):25-29.
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  44. Patrick Hutchings (1963). Do We Talk That Nonsense? Sophia 2 (2):6-13.
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