The Beauty of the Redemption of the World: The Theological Aesthetics of Maximus the Confessor and Jonathan Edwards

2008 ◽  
Vol 101 (1) ◽  
pp. 45-76 ◽  
Author(s):  
Michael D. Gibson
Keyword(s):  
Jonathan Edwards ◽  
Theological Aesthetics ◽  
Hans Urs Von Balthasar ◽  
The Reformation ◽  
The World ◽  
Abstract Data ◽  
The Aesthetic ◽  
Maximus The Confessor

Catholic theologian Hans Urs von Balthasar, in hisHerrlichkeit, laments the eclipse of the aesthetic in modern theology, noting that thebeingof a Christian is itself a thing of beauty inscribed by the grace of God; that is, it is a form of existence “opened up to us by the God-Man's act of redemption. . . . God's incarnation perfects the whole ontology and aesthetics of created being.” Von Balthasar traces the loss of the aesthetic dimension from Protestant theology to the Reformation principle ofsola scriptura, which seeks to abstract “data” of scriptural revelation into objective formulae. This approach leads to the historicism of Hegel, Schelling, Schleiermacher, and Barth, effectively removing the meditative gaze from theological contemplation. Von Balthasar's ultimate argument is that it is necessary for Protestant theology to revive the Alexandrian tradition in order to recover the “transcendent principle of beauty as derived from and most proper to God,” which is to be “for us the very apex and archetype of beauty in the world.”

Theological Aesthetics or Aesthetic Theology? Some Reflections on the Theology of Hans Urs von Balthasar

1996 ◽  
Vol 49 (1) ◽  
pp. 75-95
Author(s):  
Roland Chia
Keyword(s):  
Theological Aesthetics ◽  
Hans Urs Von Balthasar ◽  
Experience Of God ◽  
The World ◽  
The Relationship

The theology of Hans Urs von Balthasar can be described as an attempt to provide an exposition of a verse in one of Gerard Manley Hopkin's most memorable poems in which the Jesuit poet declared that ‘The world is charged with the grandeur of God’. This verse, and indeed the poem as a whole, affirms the Christian's cosmic experience of God. Just as the mythological view of the relationship between god and the world is that the world is a sacred theophany, the world is, for the Christian, the theophany of God's glory and beauty.

scholarly journals Christ as the Watermark of Divine Love: Expanding the Boundaries of Eastern Orthodox Ecumenism and Interreligious Encounter

2021 ◽  
Vol 78 (4) ◽  
pp. 396-407
Author(s):  
Brandon Gallaher
Keyword(s):  
Theological Reflection ◽  
Eastern Orthodox ◽  
Social Teaching ◽  
Orthodox Church ◽  
Divine Love ◽  
Hans Urs Von Balthasar ◽  
Religious Dialogue ◽  
The World ◽  
Teaching Text ◽  
Maximus The Confessor

The article is a personal theological reflection on ecumenism and inter-religious dialogue by one of the commission of drafters of the Ecumenical Patriarchate's 2020 social teaching text For the Life of the World: Toward an Orthodox Social Ethos (=FLOW). The text argues that FLOW, despite being innovative for Orthodoxy, needs its boundaries expanded theologically. The section on Christian ecumenism is still quite conservative in character. It acknowledges that the Orthodox Church is committed to ecumenism but it does not explicitly acknowledge the ecclesiality of non-Orthodox churches. The author puts forward a form of qualified ecclesiological exclusivism that affirms that non-Orthodox churches are tacitly Orthodox containing “a grain of Orthodoxy” (Sergii Bulgakov). Strangely, FLOW's section on inter-religious dialogue is much more radical than its section on ecumenism. The author builds theologically on FLOW's positive affirmation of other religions as containing “seeds of the Word”, in particular, Islam containing ‘beauty and spiritual truths' and Judaism as being Orthodoxy’s “elder brother.” The essay ends by sketching a Trinitarian theology of other religions drawing on ideas from Maximus the Confessor, Bulgakov, Hans Urs von Balthasar and Raimundo Panikkar amongst others.

scholarly journals Justice as Beauty-in-Action? Insights from Hans Urs von Balthasar’s Aesthetics and Dramatics

2020 ◽  
Vol Supp (29) ◽  
pp. 37-49
Author(s):  
M Havenga ◽  
Keyword(s):  
Jesus Christ ◽  
Theological Aesthetics ◽  
Hans Urs Von Balthasar ◽  
Dynamic Event ◽  
Static Image ◽  
The World

This essay explores the relation between beauty and justice by turning to the thought of the Swiss Catholic theologian Hans Urs von Balthasar. It begins by giving an exposition of Balthasar’s theological aesthetics, as developed in his work The glory of the Lord, which shows how, for Von Balthasar, earthly beauty participates in, and expresses something of God’s divine glory and reaches its apex in the revelation of the beautiful form of Jesus Christ. This is then followed by an exposition of Von Balthasar’s theological dramatics, as developed in his work Theo-drama, which shows how, for Von Balthasar, this beautiful form of Christ is not merely a static image, icon, or artwork but, in fact, a dynamic event, a dramatic act, an embodied performance which reveals to us, along with God’s glory and beauty, God’s unbounded goodness. The essay subsequently turns to questions of justice (in light of Von Balthasar’s understanding of the relation between beauty and goodness), and ultimately argues that, according to Von Balthasar’s thought, justice can be viewed as a form of beauty-in-action that asks to be performed in the world.

Ghost, Broken Narratives and the Art of Dying

2013 ◽  
Vol 42 (4) ◽  
pp. 15-22
Author(s):  
Lars Rømer
Keyword(s):  
19Th Century ◽  
Common Sense ◽  
Science And Religion ◽  
The Reformation ◽  
The World ◽  
Art Of Dying ◽  
The Dead

This article investigates how experiences of ghosts can be seen as a series of broken narratives. By using cases from contemporary as well 19th century Denmark I will argue that ghosts enter the world of the living as sensations that question both common sense understanding and problematize the unfinished death. Although ghosts have been in opposition to both science and religion in Denmark at least since the reformation I will exemplify how people deal with the broken narrative of ghosts in ways that incorporate and mimic techniques of both the scientist and the priest. Ghosts, thus, initiate a dialogue between the dead and the living concerning the art of dying that will enable both to move on.

Textual Events

2018 ◽  
Keyword(s):  
Cultural Norms ◽  
Homeric Hymns ◽  
The World ◽  
Real Performance ◽  
Textual Traditions ◽  
The Aesthetic ◽  
The Relationship ◽  
Ritual Practices ◽  
Formal Features

Recent decades have seen a major expansion in our understanding of how early Greek lyric functioned in its social, political, and ritual contexts. The fundamental role song played in the day-to-day lives of communities, groups, and individuals has been the object of intense study. This volume places its focus elsewhere, and attempts to illuminate poetic effects that cannot be captured in functional terms. Employing a range of interpretative methods, it explores the idea of lyric performances as textual events. Several chapters investigate the pragmatic relationship between real performance contexts and imaginative settings. Others consider how lyric poems position themselves in relation to earlier texts and textual traditions, or discuss the distinctive encounters lyric poems create between listeners, authors, and performers. In addition to studies that analyse individual lyric texts and lyric authors (Sappho, Alcaeus, Pindar), the volume includes treatments of the relationship between lyric and the Homeric Hymns. Building on the renewed concern with the aesthetic in the study of Greek lyric and beyond, Textual Events re-examines the relationship between the poems’ formal features and their historical contexts. Lyric poems are a type of sociopolitical discourse, but they are also objects of attention in themselves. They enable reflection on social and ritual practices as much as they are embedded within them. As well as enacting cultural norms, lyric challenges listeners to think about and experience the world afresh.

The Power of Everyday Aesthetics in World-Making

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Quality Of Life ◽  
Social Responsibility ◽  
Interpersonal Relationships ◽  
Daily Life ◽  
Personal Life ◽  
Moral Virtues ◽  
Everyday Aesthetics ◽  
The World ◽  
The Aesthetic

This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Hans Urs von Balthasar

2016 ◽  
pp. 717-738
Author(s):  
Kevin Mongrain
Keyword(s):  
Christian Tradition ◽  
Theological Aesthetics ◽  
Natural Form ◽  
Hans Urs Von Balthasar ◽  
Divine Grace ◽  
Natural Forms

This chapter considers the extensive corpus of Hans Urs von Balthasar by treating two architectonic themes in his thought: remembrance and beauty. In the first instance, Balthasar sees theology in modernity—especially in the form of neo-scholasticism—as marked by a failure to remember appropriately some essential principles of Christian tradition, most importantly the inseparability of theology and spirituality in an anti-Gnostic key. In the second instance, the theme of theological aesthetics is treated, initially by placing Balthasar’s conception of a true seeing of natural forms against the background of Goethe’s philosophy. The epiphanic nature of all created being, able to reveal to us the glory of God, and yet obscured from us by sin, lies at the heart of Balthasar’s theology. Ultimately, this theology is Christocentric: the crucified and risen Christ-form becomes a permanent sacramental vehicle of divine grace, restoring our sight of natural form and divine glory.

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