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Download Faith and Beauty: A Theological Aesthetic (Routledge Studies in Theology, Imagination and the Arts) fb2, epub

by Edward Farley

Download Faith and Beauty: A Theological Aesthetic (Routledge Studies in Theology, Imagination and the Arts) fb2, epub

ISBN: 0754604543
Author: Edward Farley
Language: English
Publisher: Routledge; 1 edition (August 30, 2001)
Pages: 132
Category: Humanities
Subcategory: Other
Rating: 4.2
Votes: 357
Size Fb2: 1152 kb
Size ePub: 1211 kb
Size Djvu: 1528 kb
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Theological aesthetics is the interdisciplinary study of theology and aesthetics, and has been defined as being "concerned with questions about God and issues in theology in the light of and perceived through sense knowledge (sensation, feeling,.

Theological aesthetics is the interdisciplinary study of theology and aesthetics, and has been defined as being "concerned with questions about God and issues in theology in the light of and perceived through sense knowledge (sensation, feeling, imagination), through beauty, and the arts". This field of study is broad and includes not only a theology of beauty, but also the dialogue between theology and the arts, such as dance, drama, film, literature, music, poetry, and the visual arts.

Aesthetics' and 'theological aesthetics' usually imply a focus on questions about the arts and how faith or religion relates to the arts; only the final pages of this work . Routledge Studies in Theology, Imagination and the Arts. What have imagination and the arts to do with theology?

Aesthetics' and 'theological aesthetics' usually imply a focus on questions about the arts and how faith or religion relates to the arts; only the final pages of this work take up that problem. The central theme of this book is that of beauty. Farley employs a new typology of western texts on beauty and a theological analysis of the image of God and redemption to counter the centuries-long tendency to ignore or marginalize beauty and the aesthetic as part of the life of faith. What have imagination and the arts to do with theology? For much of the modern era, the answer has been 'not much'.

Ashgate Studies in Theology, Imagination and the Arts). Aesthetics' and 'theological aesthetics' usually imply a focus on questions about the arts and how faith or religion relates to the arts; only the final pages of this work take up that problem

Ashgate Studies in Theology, Imagination and the Arts). Aesthetics' and 'theological aesthetics' usually imply a focus on questions about the arts and how faith or religion relates to the arts; only the final pages of this work take up that problem.

Farley's focus on the transformative aspects of beauty allows him to innovatively harmonize a variety of divergent theoretical strands into a complex and satisfying theological asesthetic that is itself beautiful, in the Whiteheadian sense of being a real creative accomplishment of synthesis.

Aesthetics" and "theological aesthetics" usually imply a focus on questions about the arts and how faith or religion .

Aesthetics" and "theological aesthetics" usually imply a focus on questions about the arts and how faith or religion relates to the arts: only the final pages of this work take up that problem. The central theme of the book is beauty. The author employs a new typology of western texts on beauty and a theological analysis of the image of God and redemption to counter the centuries-long tendency to ignore or marginalize beauty and the aesthetic as part of the life of faith.

Theological aesthetics is the interdisciplinary study of theology and . imagination in theology" (Lynch, McIntyre, Green), and the beauty of God (van der Leeuw, Barth, von Balthasar). This field of study is broad and includes not only a theology of beauty, but also the dialogue. YouTube Encyclopedic.

Aesthetics and theological aesthetics usually imply a focus on questions about the arts and how faith or religion relates to the arts: only the final . Part of the Ashgate Studies in Theology, Imagination and the Arts Series).

Aesthetics and theological aesthetics usually imply a focus on questions about the arts and how faith or religion relates to the arts: only the final pages o. .

This book explores the role of aesthetic experience in our perception and understanding of the holy

This book explores the role of aesthetic experience in our perception and understanding of the holy. Richard Viladesau's goal is to articulate a theology of revelation, examined in relation to three principal dimensions of the aesthetic realm: feeling and imagination; beauty (or taste); and the arts.

Theological aesthetics examines the relationship of God, faith . theology and aesthetics. Theology in its broadest sense is speaking about. Ironically, beauty and the imagination seem to. thrive implicitly in the hymnody of this period.

Theological aesthetics examines the relationship of God, faith, and theology to human perception (the imagination and sensation), beauty, and the arts. God – the logos of theos. Christian theology is faith. seeking understanding, an understanding about. 17th–19th centuries), with music becoming a.

'Aesthetics' and 'theological aesthetics' usually imply a focus on questions about the arts and how faith or religion relates to the arts; only the final pages of this work take up that problem. The central theme of this book is that of beauty. Farley employs a new typology of western texts on beauty and a theological analysis of the image of God and redemption to counter the centuries-long tendency to ignore or marginalize beauty and the aesthetic as part of the life of faith. Studying the interpretation of beauty in ancient Greece, eighteenth-century England, the work of Jonathan Edwards, and nineteenth and twentieth-century philosophies of human self-transcendence, the author explores whether Christian existence, the life of faith, and the ethical exclude or require an aesthetic dimension in the sense of beauty. The work will be of particular interest to those interested in Christian theology, ethics, and religion and the arts.

Comments:

Alexandra
While I found myself having to re-read sections in order to fully grasp the density and complexity of this book, I still recommend it. Farley provides a commendable and important historical overview and analyses of various contributors and themes in theological aesthetics. The first 5-6 chapters seem to build to the pinnacle chapter 7 in which Farley offers his own theological aesthetic which the reader is better able to appreciate having read previous chapters that inform historical context. Given my own unique reasons for reading this text (for doctoral dissertation work), I wish that Farley had further developed what he begins in chapter 7; (the book has only 8 chapters).
Farley's contribution is to provide a re-newed vision of beauty i.e., beauty (and ugliness) have little to do with degrees of prettiness. Instead, beauty has more to do with a liberative, relational, life-affirming faith that is evidenced in benevolent concern for others. Farley's understanding of beauty concerns that which opens up and makes room for others (in our differences and idiosyncratic mysteries). He lays out criteria for the discernment of beauty and ugliness in theological terms as he asserts his thesis that beauty is intrinsic to the life of faith (because it is a "feature of the divine image which is distorted by sin and restored by redemption" (viii).
Given our cultural values around issues of beauty, Farley's thesis stands as an important theological position.
Araath
Farley sets out to describe the life of Christian faith using aesthetic rather than the more usual moral categories, complaining that `an odd lack of relation between faith and the aesthetic dimension of human life. . . haunts the work of most theologians I know.' (Preface) To make up this deficiency Farley turns first and foremost, not to scripture, but to a survey of theologians who do take the aesthetic dimension of life seriously. Noting that some (mainly protestant) theologians are wary of beauty as a theological category while others (mainly Catholic) are more positive, Farley places himself in the positive camp. After a brief, lyrical introduction grounded in Farley's own childhood experience, the first half of this work comprises a history of ideas on the theme of beauty and theology.
On the plus side, this approach allows Farley to resurrect neglected work on this topic (this said, Farley ignores relevant work by more well-known figures, such as C.S Lewis and Francis Schaeffer). On the minus side, Farley does not grapple with the philosophical question of what beauty is. Rather, he simply reports what various theologians (and some philosophers) have said beauty is and works from there. Indeed, although Farley notes the association between beauty and being, he ignores the widespread and traditional definition of beauty as that which is objectively or intrinsically good to appreciate (a tradition continued today by the likes of Norman L. Giesler and Alvin Plantinga); concentrating instead on the scholastic definition of beauty as proportion in being. I also found it quite hard to determine exactly which of the views reported Farley himself held. While I was encouraged to see him proposing, in agreement with Christian tradition, that beauty is an objective facet of reality: `"aesthetics" refers to a dimension of human experience, an engagement with and participation in what is intrinsically attractive - in other words, with what is beautiful' (Preface), he does not argue for an objective view of beauty. For such a defence, readers would be well advised to turn to the first chapter of C.S. Lewis' The Abolition of Man, (Fount).
Farley's basic conclusion is that `beauty comes with redemptive transformation' (p. 96). In other words, sanctification has an aesthetic dimension related to the Christian being made more like Jesus: `virtue harmonizes the conflicted self and is thus beautiful. . . to lack virtue is to be ugly.' (p. 91). Beauty is part and parcel of `the way in which the faithful person behaves towards others and in the world.' (p. 110). Farley also notes that: `if God is dead, so is beauty.' (p. 64). It is good to see a contemporary theologian reminding his readership of this fact. However, that readership is unlikely to be very wide, because this book is written using some of the most impenetrable prose I have ever read. This is certainly not an introductory volume, but one that assumes some background knowledge on the part of the reader. The difficulty of reading this work is unfortunate, because Farley's analysis reminds us of some important past work in theological aesthetics, and his conclusions desperately need advocating in our post-modern society.

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