Abstract

That Paul Tillich's contributions, both in theology and in philosophy, rank among the dozen most significant and creative in the twentieth century is generally agreed. What may not be equally recognized is the originality and fecundity of his writings in the philosophy of art. Michael Palmer has performed a unique service by producing a book which attempts to analyze and evaluate this work. Palmer's is a bold task and not one to be taken lightly nor to be envied because it involves a mastery of and capacity to explain Tillich's theology, to expound his aesthetics and--as if these two were not forbidding enough--to discuss the relation between his theology and his aesthetics. He performs heroically, demonstrating at once a sensitivity to Tillich's theology--and to much of the scholarly discussion of it--and an always critical sympathy with his aesthetic views. Although Palmer's work defies summary, I shall try to capture his main claims and then comment on his interpretation and appraisal.