This book fills that lacuna by providing an anthology of readings on theological aesthetics drawn from the first century to the present.A superb sourcebook, "Theological Aesthetics" brings together original texts that are relevant and ...

In this book, Richard Viladesau contrues Christian theology as a "theological aesthetics". He examines Christian revelation and its presuppositions in relationship to three interconnected meanings of the "aesthetic" in modern thought: human cognition as feeling and imagination; the realm of the beautiful; and the arts. In each area, examples from the arts are correlated with classical and contemporary theological themes.

While philosophy believes it is impossible to have an experience of God without the senses, theology claims that such an experience is possible, though potentially idolatrous. In this engagingly creative book, John Panteleimon Manoussakis ends the impasse by proposing an aesthetic allowing for a sensuous experience of God that is not subordinated to imposed categories or concepts. Manoussakis draws upon the theological traditions of the Eastern Church, including patristic and liturgical resources, to build a theological aesthetic founded on (...) the inverted gaze of icons, the augmented language of hymns, and the reciprocity of touch. Manoussakis explores how a relational interpretation of being develops a fuller and more meaningful view of the phenomenology of religious experience beyond metaphysics and onto-theology. (shrink)

The seventeenth-century Puritan theologian Jonathan Edwards has become popular again in contemporary theological discussion. Central to Edwards' theology is his concept of beauty. Delattre wrote the standard work on this topic half a century ago. However, Delattre approaches Edwards mainly as a philosopher, and he does not address how Edwards employs the concept of beauty to explain and defend traditional Reformed doctrines. Recent writings by McClymond, Holmes, and others have shown that defending the Reformed tradition is a fundamental concern (...) of Edwards. This work reveals how Edwards, starting with the common notion that beauty means the appropriate proportional relationship, develops a theological aesthetic that contributes to a rational understanding of major doctrines such as the Trinity, Christology, and eschatology. It shows that Edwards is both an innovative speculative theologian and a staunch defender of Reformed orthodoxy. (shrink)

Music can answer questions that often confound more discursive modes of thought. Music takes concepts that are all too familiar, reframes these concepts, and returns them to us with incisive clarity and renewed vision. Unity is one of these "all too familiar concepts," thrown around by politicians, journalists, and pastors as if we all know what it means. By turning to music, especially musical space, the relational structure of unity becomes less abstract and more tangible within our philosophy. Arnold Schoenberg, (...) as an inherently musical thinker, is our guide in this study of unity. His reworking of musical structure, dissonance, and metaphysics transformed the tonal language and aesthetic landscape of twentieth century music. His philosophy of compositional unity helps us to deconstruct and reconceive how unity can be understood and worked with both aesthetically and theologically. This project also critiques Schoenberg's often monadic musical metaphysic by turning to Colin Gunton's conviction that the particularity and unity at the heart of God's triune being should guide all of our theological endeavors. Throughout, music accompanies our thinking, demonstrating not only how theology can benefit the philosophy of music but also how the philosophy of music can enrich and augment theological discourse. (shrink)

Characterize several lines of intellectual development by which some of the fundamental features of ancient, medieval, and modern pictures of God, Nature, Beauty, the State, and the Self came to be accepted as common knowledge in the Mediterranean world today.

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and (...) it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

An important influence on Jean-Luc Marion’s phenomenology is the work of Swiss Catholic theologian Hans Urs von Balthasar. Marion is particularly interested in Balthasar’s ‘phenomenological’ approach to the content of Christian revelation, centered on the metaphor of the work of art. Balthasar suggests in his Theo-Logic that the early Marion ‘concede[s] too much to the critique of Heidegger,’ moving too far away from the ‘transcendental’ metaphysics of Aquinas and the classical tradition. Yet Balthasar’s criticism is premature. Rather, Marion’s work, particularly (...) his emphasis on the ‘saturated phenomenon,’ paves the way for a postmetaphysical theological aesthetics that might renew Balthasar’s project in a cultural situation ‘after’ the death of God, while simultaneously opening a space for Christian revelation apart from a certain hegemonic tradition of onto-theology. (shrink)

Many Christian theologians have associated beauty, both in nature and art, with the Holy Spirit. They include early Fathers like St Irenaeus and St Clement of Alexandria, as well as later writers like Calvin, Jonathan Edwards, Sergius Bulgakov and Hans Urs von Balthasar. This text investigates what they said and why. In doing so, it also serves as an introduction to the whole area of theological aesthetics. Besides exploring the connection between the Holy Spirit and beauty, it ranges (...) more widely by considering topics such as divine glory, inspiration and the eschatological character of beauty. Its discussions bring together two areas of lively interest in contemporary Christianity: the theology of the Holy Spirit and theological aesthetics. (shrink)

This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic feminist (...) representation, Christa exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation. (shrink)

Seattle, Prague, Quebec, Nice, Gothenburg, Genoa, Brussels, Barcelona, ≡ All these cities formed the setting of mass globalization protests. In most mass media reports, the presence of thousands of peaceful demonstrators has been outshone by the pictures of radical activists smashing McDonald's and Niketown. In the search for an adequate theological response to today's context of globalization, this article takes precisely this radical activism as a starting–point. In line with those postmodern iconoclasts’ own legitimation, a theological approach to (...) this case leads to the Marxist theory of fetishism and idolatry as it has already been investigated by liberation theologians two decades ago. Surprisingly, a renewed version of this critique of the theologization of economics can be found in No Logo , the trend–setting globalization critique written by the Canadian journalist Naomi Klein. A theological close reading of this best–selling book brings to the light a recurrent use of religious metaphor to characterize the corporate logo as a major aesthetic figure in the context of globalization. In order to understand the aesthetic and theological processes involved, a confrontation with the theological aesthetics of Hans Urs von Balthasar delivers a striking formal parallel between the Church's cross and today's corporate logo. Beyond an at first sight similar theo–aesthetic programme, Balthasar's theological aesthetics however opens up a position which enables us to expose the contemporary global socio–economic system as a subtly inverted Christianity. (shrink)

The aim of this article is to investigate two links between beauty and leadership: What is beautiful about spiritual leadership? Why should spiritual leaders bother about beauty? This study was motivated by the Bible verse 1 Timothy 3:1 and the observation that, at least in the German context, church leadership is no longer seen as a beautiful task. After a preliminary note on theological aesthetics, the paper discusses several approaches towards the link between aesthetics and transformation of (...) the world, among them God becoming beautiful by Rudolf Bohren and Christianity, art and transformation by John de Gruchy. The article finally argues that: spiritual leaders are beautifying the church and beyond and spiritual leaders should strive for beauty as diligently as they strive for truth and goodness. Statement is drawn from the propositions that the spirit is the real leader of the church, church leaders are partaking in the work of the spirit and the spirit is beautifying the church and beyond. This is a theological statement, not a phenomenological one. A small poll provides some answers to the questions: ‘what is beautiful about leading?’ and ‘what is not beautiful about leading?’ An example of a German kindergarten illustrates some benefits of an aesthetical approach.Contribution: This article focuses on the neglected area of aesthetics in the context of leadership. It aims to encourage Christian leaders to fight against the ugliness of the world and make the world more beautiful. (shrink)

The volume and diversity of Balthasar's output makes it hard to grasp his theological purpose. This article considers the aims of Herrlichkeit in particular. To take the beautiful seriously is ontologically important but evangelically more urgent still. The Gospel requires sensitivity to the form of Jesus Christ. If the anxieties of those who fear the aesthetic will displace the ethical and even the religious can be overcome, this approach permits a wonderful integration of apologetics and dogma, fundamental and systematic (...) theology. This primary aim of Herrlichkeit is supported by showing it is not unknown to the history of Christian thought. To gain a proper idea of its scope, however, requires exploration of pre‐Christian paganism's estimate of the beauty of being, and of the human capacity to register it. then, under the impact of revelation, it is possible to locate the climax of ontological thinking about beauty in the work of Aquinas—which integrated revealed and natural sources in an account of being as glorious because given away: supremely on the Cross, in self‐diffusion of the Trinitarian life. Balthasar's purpose now shifts. He will show how Western metaphysics declined from this high‐point of perception—but in such a way that the glory of being took refuge in the holy folly of the saints. Finally, he aims to show how re‐reading Scripture in the light of the above can generate the conviction that the message of the Bible is ultimately about the self‐giving divine glory as universal foundation of history and the world. (shrink)

Logoi : the history and definition of art and aesthetics -- The broader context -- An ontological foundation -- Doxa : the nature of art -- Inspired by the spirit -- Universal beauty -- Aesthetics of hope -- Praxis : the purpose of art -- Art and creation as play -- Serious art qo -- Church art.

Nathan Carlin revisits the role of religion in bioethics, an increasingly secular enterprise, and argues that pastoral theologians can enrich moral imagination in bioethics by cultivating an aesthetic sensibility that is theologically-informed, psychologically-sophisticated, therapeutically-oriented, and experientially-grounded. To achieve these ends, Carlin employs Paul Tillich's method of correlation by positioning four principles of bioethics with four images of pastoral care.

El Amor y la Nada son dos huellas medievales por las que han transitado los espíritus inquietos del siglo XX y del siglo XXI en busca de señales para fundar “nuevos comienzos” de raíces antiguas. En sus últimos escritos Simone Weil dejó constancia de su admiración por el camino del anonadamiento y del amor puro que había encontrado en un “anónimo” de la mística francesa del siglo XIV, El espejo de las almas simples , cuya autoría, se comprobaría tiempo después, (...) pertenecía a Margarita Porete, condenada a la hoguera en 1310. A partir de este puente trazado por dos francesas heridas por la belleza y el dolor, nuestro propósito es realizar una lectura estético teológica, a fin de mostrar que, a través de la vía negativa del desasimiento, el “Amor nuevo”, que libremente se manifiesta en la figura del “espejo”, es quien pone en marcha cada nuevo comienzo en la historia. . (shrink)

ABSTRACTI discuss three accounts of the spiritual significance of aesthetic experience. Two of these perspectives I have taken from the recent literature in theological aesthetics, and the third I have constructed, building on Thomas Aquinas’s conception of the goods of the infused moral virtues. This broadly Thomistic approach occupies, I argue, a middle ground between the other two, on account of its distinctive understanding of the role of theological context in defining spiritually significant goods. These perspectives are (...) not mutually exclusive, but they do present rather different conceptions of the ways in which aesthetic goods can contribute to spiritual well-being, and provide a focus for religious practice. (shrink)

Many modes of religious expression and experience have a markedly aesthetic component, even though aesthetic delight itself often appears to be free of moral or religious interests. In this ground-breaking work, Frank Burch Brown shows how aesthetics, no less than ethics, can play a central role in the study of religion and in the practice of theology.

Joseph Addison’s Spectator papers on the imagination have been read as a landmark in the development of aesthetic disinterestedness. But this is problematic in light of Addison’s theological concerns, particularly as they bear on the final causes of aesthetic pleasures. This teleology of the aesthetic is far from a Kantian understanding, but rather part of a larger discourse of physico-theology. By drawing on the work of Zeitz and Mayhew, among others, this paper shows how Addison’s theological underpinnings of (...) the aesthetic raise the broader question of the role theology played in the emergence and evolution of philosophical aesthetics. In eighteenth-century Britain, the aesthetic belonged to a disciplinary matrix comprising a set of confluent discourses, one of which was theology. Drawing on and expanding M.H. Abrams’s scheme, which explores how concepts such as ‘contemplation’ and ‘disinterestedness’ migrated from theology to aesthetic theory, this paper suggests that the concept of ‘aesthetic pleasure’ underwent a similar transformation. With Addison, the pleasures afforded by the imagination acquire a new dominant position which allows one to speak of a text in modern aesthetics instead of a manual of Christian apologetics. (shrink)

FoIlowing an historical oveview of problems which have affected an aesthetic account of God, I examine several contemporary approaches (including that of J.-D. Robert), and conclude with a cautious defense or the use or aesthetic judgement as a means or approaching the existence of God.

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 (...) radical contingency to Necessary Being may function as George Eliot thought Wit to function, intellectually/aesthetically. (shrink)

The Metaphysics of the Decision Recent attempts to merge democratic theory with political theology have had to face a fundamental difficulty in the approach to sovereignty. While Carl Schmitt bases sovereignty in the decision on the exception, this idea runs counter to the democratic idea that sovereignty resides with the people and therefore cannot be exercised by a single authoritative leader. This problem leads Jeffrey Robbins, for instance, to attempt to imagine political theology without sovereignty. For him, such an elimination (...) of sovereignty is necessary for democracy because the idea of a single sovereign contradicts the democratic…. (shrink)

As part of the wider theoretical framework of Zha Changping’s so-called world-picture logic, “world relational aesthetics” constitutes a theoretical system for critiquing pioneering contemporary Chinese art. Against the backdrop of the Western history of aesthetics, this paper attempts a categorization of world relational aesthetics in terms of its methodology and theory, treating it as a continuation in the tradition of theological aesthetics that offers unique insight into China’s pioneering art.

Arguing that we ought to look to psychedelic aesthetics of the 1960s in relation to current crises in liberal democracy, this book emphasizes the intersection of European thought and the psychedelic. The first half of the book focuses on philosophical influences of Herbert Marcuse and Antonin Artaud, while the second half shifts toward literary and theoretical influences of Aldous Huxley on psychedelic aesthetics. Framed within an emergent discourse of political theology, it suggests that taking a postsecular approach to (...) psychedelic aesthetics helps us understand deeper connections between aesthetics and politics. (shrink)

By law, women seeking abortions in some US states must undergo compulsory ultrasound viewing. This article examines the moral significance of this practice, especially as understood by pro-life religious groups, in light of Foucault’s recently published lectures on ‘The Will to Know’ and the place of the aesthetic. How does the larger abortion-debate strategy of ‘showing’ and ‘seeing’ images—whether of living or dead fetuses—work as an aesthetic form of argument that intends to evoke a moral response in the absence of (...) reason-giving? The article draws on recent, parallel debates regarding disgust before concluding with a theological response to the priority of will over knowledge and vision over action as commentary on the future of abortion debate and law, especially in the United States. (shrink)