Titlebook: Religion and Aesthetic Experience in Joyce and Yeats; Tudor Balinisteanu Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Re

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Aesthetic Experience, Religion, and Economic Materialism in Yeatsce into social attitudes. A specific aesthetic experience lived in a state of mind manifesting faith, belief, and enthusiasm in Yeats’s case, or faithlessness, disbelief/unbelief, and irony in Joyce’s case, informs one’s specific position in relation to the social, material world.

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Conclusion: Art and Life Rhythmsngenders, which in older times was connected to myth and ritual, making aesthetic experience an experience of the sacred or of the subliminal night-mind. The metonymic order of literary discourse gives a text its prosaic dimension, but also gives an ironic character to aesthetic experience, which in

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d in certain areas is the only available source of information in vertebrates. Further­ more, much of the now classical knowledge in neurobiology was originally ob­ tained and elaborated in depth in this vertebrate. To cite only a few examples, studies of nerve conduction, neuromuscular transmission

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Joyce and Art as a Form of Religious Experienceeality into meaningful art texts. Aesthetic creation, in governing this labour of self-recreation, is social praxis. And the derived aesthetic experience is a form of religious experience to the extent that self-recreation through art is driven by experiences of epiclesis, transubstantiation, and epiphany.

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Introduction: Argument and Contextsiation, and epiclesis in a theoretical framework derived from the theory of social myth developed by Georges Sorel (1847–1922). I aim to sketch a theory of art in which the experience of art, like that of social myth, can be seen as a form of religious experience. The theorisation of the experience

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