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AbstractThis paper argues for a soft perennialism, distinct from the hard perennialism which suggests that spiritual and religious traditions are expressions of the same underlying spiritual realities. There are two reasons why it is necessary to think in terms of a soft perennial model: firstly, because of a number of important common themes or trends across spiritual traditions; and secondly (and most importantly) because when the process of expansion of being or awakening occurs outside the context of spiritual traditions, broadly the same themes and tendencies appear, suggesting that there is a common landscape of experience which precedes interpretation and conceptualization by spiritual traditions.

This applies to the perception of an all-pervading spiritual energy or force which may—in some traditions—become conceptualized as an allegedly ultimate reality but is not necessarily seen in those terms. It is suggested that transpersonal psychology would benefit from loosening its association with spiritual traditions and focusing more on studying expansive states of being in a non-traditional, secular contex t.

The Ethics of Authenticity, Chapters 6-10In the first five chapters, Taylor argued that contemporary society suffers from three malaises: rampant individualism, the dominance of instrumental reason, and the loss of political freedom brought about by social fragmentation. The bulk of the book looks at the first issue. Whereas various commentators deride modern individualism as purely amoral narcissism that is impervious to criticism, Taylor shows that contemporary ideas of self-fulfillment are rooted in a deeper conceptual history. He argues that choice for the sake of choice is only valuable insofar as we choose well, which means that act of choosing is less important than the object of choice. Such objects cannot be determined by the chooser; rather, they are determined in dialogue with other people. Other people, in other words, are in some way necessary to personal responsibility and authenticity inasmuch as they help determine what a good life looks like.In this chapter, Taylor will continue looking at how we got to a culture of self-fulfillment, and in the last two chapters he will briefly discuss the other two malaises.VI.

The Slide to SubjectivismTaylor has been arguing that the “culture of self-fulfilment” is a debased version of a serious moral ideal: authenticity. In this way, his argument contrasts with other criticisms of contemporary culture, which either (a) see it as driven by a powerful but dissolute ideal or (b) lacking any ideal whatsoever. Both criticisms see “the culture of narcissism as quite at peace with itself.and therefore impervious to argument” (56). Taylor’s view shows the culture “to be full of tension, to be living an ideal that is not fully comprehended, and which properly understood would challenge many of its practices” (56). As mentioned earlier, it is this gap between theory and practice that provides space in which to reason about the culture of self-fulfilment.What makes the ideal of authenticity devolve into the culture of self-fulfilment? Taylor rejects the idea that it is just moral laxism on the grounds that people have always struggled with morals. Contemporary culture sanctions both “social atomism” and “radical anthropocentrism”: respectively, (i) regarding social relationships as instrumental to self-fulfilment, and (i) “neglecting or delegitimating demands that come from beyond our own desires or aspirations, be they from history, tradition, society, nature, or God” (58).The social causes for the slide are several, and while not entirely determinative, they are not to be ignored.

For one, as parents strive toward an ideal and raise their children in it, the children are more likely to make it a part of their daily lives. Also, the techno-bureaocratic attitude renders all facets of life valuable only for self-fulfilment, thereby de-sanctifying that which was previously revered.However there are “reasons internal to the ideal of authenticity that facilitate the slide” (60), and in fact there is not one slide but two: a popular one and an “high” cultural one. Inasmuch as the popular one has been dealt with throughout the book, Taylor turns to the academic one. He will end up saying that the notion of authenticity must involve two themes with their corollaries (page 66), but that the dominant trends in post-modernism focus on A at the expense of B: Figures such as Nietzsche, Baudelaire, Marinetti and the Futurists, Antonin Artaud and the Theatre of Cruelty, Georges Bataille, Foucault, and Derrida are cited as examples of thinkers subscribing to A at the expense of B.A theme throughout some of these thinkers work (especially Foucault and Derrida) is a questioning of all values and the implicit or explicit rejection of standards imposed by the world. While both go so far as the undo the category of “the self,” Taylor argues that, paradoxically, the leave “the agent, even with all his or her doubts of the ‘self,’ with a sense of untrammeled power and freedom before a world that imposes no standards, ready to enjoy the ‘free play,’ or to indulge in an aesthetics of the self” (61).

It is in university students that the high-cultural and the popular slides to subjectivism meet, and the academic slide “further strengthens the self-centred modes, gives them a certain patina of deeper philosophical justification” (61).Taking the later Foucault as exemplary of the thinkers in the A side, Taylor interprets post-Romantic versions of the self to involve a curious blend of self-discovery and self-expression. That is, we must become what we really are in our own individual, original way, yet this becoming needs some form of expression to be fully realized: “We discover what we have it in us to be by becoming that mode of life, by giving expression in our speech and action to what is original in us” (61).This link between self-discovery and expression accounts for the increasingly revered role of the artist after Romanticism as well as a shift thinking what “art” is. On the one hand, whereas art’s primary duty previously was mimesis, the representation of reality, its job increasingly comes to be seen as one of moving people: “The specificity of art and beauty cease to be defined in terms of the reality or its manner of depiction, and come to be identified by the kinds of feeling they arouse in use, a feeling of its own special kind, different from the moral and other kinds of pleasure” (64). In a word, aesthetics is born.On the other hand, the artist as creative comes to be valorized as a purest crystallization of the self-making person. It’s not a large step to see how this emphasis on self-making blends into a generalized anti-conventionalism, and “self-definition comes early to be contrasted to morality” (63)Indeed, the very idea of originality, and the associated notion that the enemy of authenticity can be social conformity, forces on us the idea that authenticity will have to struggle against some externally imposed rules.

We can, of course, believe that it will be in harmony with the right rules, but it is at least clear that there is a notional difference between these two kinds of demand, that of truth to self and those of intersubjective justice. Pages.Related Blogs.Authors. (1). (6). (6).

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Greatest Philosophical Arguments

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Charles Taylor Philosophical Arguments Pdf

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