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  1. Are Human Beings Religious by Nature?Wessel Stoker - 2005 - Bijdragen 61 (1):51-75.
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  2.  96
    The Rothko Chapel Paintings and the 'Urgency of the Transcendent Experience'.Wessel Stoker - 2008 - International Journal for Philosophy of Religion 64 (2):89 - 102.
    Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher’s Reden Über die Religion , painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich’s Monk by the Sea . Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition , that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to religious (...)
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  3.  45
    Are Human Beings Religious by Nature? Schleiermacher's Generic View of Religion and The Contemporary Pluralistic, Secular Culture.Wessel Stoker - 2000 - Bijdragen 61 (1):51-75.
    This article rejects the claim that human beings are religious by nature. This rejection is controversial. It is always said by catholic and protestant philosophers and theologians that human beings are religious by nature. Schleiermacher holds that the feeling of absolute dependence does not define religion, but it is the defining characteristic that makes a certain phenomenon a religiousone. This defining characteristic is borrowed from christian faith in the one God the creator. I raise two questions: 1. how does Schleiermacher (...)
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    The Rothko Chapel Paintings and the ‘Urgency of the Transcendent Experience’.Wessel Stoker - 2008 - International Journal for Philosophy of Religion 64 (2):89-102.
    Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher's Reden Über die Religion, painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich's Monk by the Sea. Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition, that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to religious transcendence. In this (...)
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  5.  6
    Flight of the Gods: Philosophical Perspectives on Negative Theology.Wessel Stoker - 2002 - Ars Disputandi 2:16-16.
  6. God, Master of Arts: On the Relation Between Art and Religion.Wessel Stoker - 2007 - Ars Disputandi 7:1566-5399.
    What does theology have to do with art in this modern period? To make clear why art and religion can be related in a positive way, the question of why art is of value will be posed . Subsequently some examples will be critically discussed of how art and religion have been related in theological aesthetics . Finally, in dialogue with the positions discussed, I will develop my own approach to theological aesthetics.
     
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  7. Looking Beyond?: Shifting Views of Transcendence in Philosophy, Theology, Art, and Politics.Wessel Stoker & W. van der Merwe (eds.) - 2012 - Rodopi.
    Philosophy : historical approaches -- Contemporary philosophy -- Philosophical theology -- Christian theology -- Politics -- Art.
     
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  8. Presence in Contemporary Religious Art Graham Sutherland and Antony Gormley.Wessel Stoker - 2020 - Perichoresis 18 (3):77-89.
    This article analyses the topic of presence in modern and contemporary religious art by means of the work of two artists. Graham Sutherland’s Christ in Glory will be compared to the Buddhism-inspired works of Antony Gormley. Sutherlands Christ in Glory is intended to show Christ’s presence to the involved observer: the invisible Christ can become present through interaction with Christ in Glory in the same way that Christ becomes present through prayer. Viewed in connection with other works by Gormley, Land, (...)
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  9.  29
    The Place of Art in Kierkegaard's Existential Aesthetics.Wessel Stoker - 2010 - Bijdragen 71 (2):180-196.
    Primarily because of recent studies , there has been a revaluation of Kierkegaard’s view of art and the aesthetic. This article distinguishes between the ethical aesthetics of the pseudonym B in Either/Or and Kierkegaard’s theological aesthetics. It will show that, while imagination and appropriation are core concepts in both forms of aesthetics, that Kierkegaard’s view of radical transcendence – the qualitative distinction between God and human beings – is the norm only for his theological aesthetics. As a central anthropological category, (...)
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  10.  19
    The Representation of Violence as Evil in Contemporary Art: The Power of the Image in Kiefer, Richter, and Bin Laden.Wessel Stoker - 2017 - International Journal of Philosophy and Theology 78 (4-5):432-443.
    ABSTRACTHow can violence as evil be represented in art and what do works of art evoke in the viewer? Two closely related questions on the representation of violence as evil are discussed. The first is whether there is an ethical limit to the representation of evil, that is, the issue posed with respect to the possibility of Holocaust art. Works by Anselm Kiefer are compared to Holocaust art in the exhibition Mirroring Evil: Nazi Imagery /Recent Art. The second question concerns (...)
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