Eternity S Ennui

This book examines the nature of Augustinian time as the unfathomable yet permanent focus of the present. What are the implications for Augustine’s confessional discourse? How to reconcile the brevity of time’s focus with eternity’s longueur and the rhetoric of digression?

Joseph Acquisto examines literary writers and critical theorists who employ theological frameworks, but who divorce that framework from questions of belief and thereby remove the doctrine of salvation from their considerations. Acquisto claims that Baudelaire inaugurates a new kind of amodern modernity by canceling the notion of salvation in his writing while also refusing to embrace any of its secular equivalents, such as historical progress or redemption through art. Through a series of “interhistorical” readings that put literary and critical writers from the last 150 years in dialogue, Acquisto shows how these authors struggle to articulate both the metaphysical and esthetic consequences of attempting to move beyond a logic of salvation. Putting these writers into dialogue with Baudelaire highlights the way both literary and critical approaches attempt to articulate a third option between theism and atheism that also steers clear of political utopianism and Nietzschean estheticism. In the concluding section, Acquisto expands metaphysical and esthetic concerns to account also for the ethics inherent in the refusal of the logic of salvation, an ethics which emerges from, rather than seeking to redeem or cancel, a certain kind of nihilism.

Am account of boredom, something that we have all suffered from, yet actually know very little about.

Thomas Mann predicted that no manner or mode in literature would be so typical or so pervasive in the twentieth century as the grotesque. Assuredly he was correct. The subjects and methods of our comic literature (and much of our other literature) are regularly disturbing and often repulsive -- no laughing matter. In this ambitious study, John R. Clark seeks to elucidate the major tactics and topics deployed in modern literary dark humor. In Part I he explores the satiric strategies of authors of the grotesque, strategies that undercut conventional usage and form: the de-basement of heroes, the denigration of language and style, the disruption of normative narrative technique, and even the debunking of authors themselves. Part II surveys major recurrent themes of grotesquerie: tedium, scatology, cannibalism, dystopia, and Armageddon or the end of the world. Clearly the literature of the grotesque is obtrusive and ugly, its effect morbid and disquieting -- and deliberately meant to be so. Grotesque literature may be unpleasant, but it is patently insightful. Indeed, as Clark shows, all of the strategies and topics employed by this literature stem from age-old and spirited traditions. Critics have complained about this grim satiric literature, asserting that it is dank, cheerless, unsavory, and negative. But such an interpretation is far too simplistic. On the contrary, as Clark demonstrates, such grotesque writing, in its power and its prevalence in the past and present, is in fact conventional, controlled, imaginative, and vigorous -- no mean achievements for any body of art.

This book presents a view of Christianity and Christian thinking that draws on some key thinkers from Plato to Wittgenstein and represents a thoughtful 'common sense' theology offered as an alternative to the anti-intellectualism of many contemporary Christians, to the obfuscations of others and to the distortions of Christianity provided by some of the most vocal critics. Seeking to make accessible some traditional Christian thinking and practices that are rooted in the desire to make the most of life, Felderhof highlights the additional Platonic corollary that unless we have learned to live well, we shall not properly understand, thus presuming the mutual interdependence of theory and practice. The theological conversations are taken to be open to all and do not take advantage of some privileged perspective or some arcane, supposedly 'religious' experience, inaccessible to all but a few. The methodological strategy of the book is to use a question and answer format on the assumption that much of what people have to say becomes much clearer when we have a better sense of what puzzled them in the first place, i.e. what is the issue they were trying to think through. Throughout, the underlying assumption of the book is that Christian theology has to do with making sense of what Christians do and how generally we are best advised to live.

The ultimate aim of drama is to expose the soul of Character. Dramatists achieve this objective by employing a specific type of conflict known as dialectic, a concept woven throughout Western thinking and--from Homer to 21st century cinema--the basis of all dramatic characters. This study details the history of dialectical thought from Plato to Jung before turning its focus to the development of character in a century of filmmaking. From Chaplin's Tramp to Taxi Driver's Travis Bickle, it examines more than two dozen cinematic characters governed by dialectic--torn between life and death, opposing desires, moralities and wills, their sense of self threatened by others.

The central theme here is the constant confrontation of theory and practice in the work of Baudelaire, Mallarmé and Valéry.

This book presents critical engagements with the work of Hent de Vries, widely regarded as one of the most important living philosophers of religion. Contributions by a distinguished group of scholars discuss the role played by religion in philosophy; the emergence and possibilities of the category of religion; and the relation between religion and violence, secularism, and sovereignty. Together, they provide a synoptic view of how de Vries’s work has prompted a reconceptualization of how religion should be studied, especially in relation to theology, politics, and new media. The volume will be of particular interest to scholars of religious studies, theology, and philosophy.