The Aesthetics And Ethics Of Faith

This groundbreaking work presents the first sustained discussion of the connections between two quintessentially American traditions: liberation theology and pragmatism. It explores the dynamic relationship between the aesthetic and ethical dimensions of faith practice, with a focus on the liberating potential of religious ritual.

“A thorough, considered, and provocative treatment of what justifiably remains Kierkegaard’s most famous book.” —Marginalia Review of Books Soren Kierkegaard’s masterful work Fear and Trembling interrogates the story of Abraham and Isaac, finding there one of the most profound and critical dilemmas in all of religious philosophy. While several commentaries and critical editions exist, Jeffrey Hanson offers a distinctive approach to this crucial text. Hanson gives equal weight to all three of Kierkegaard’s “problems,” dealing with Fear and Trembling as part of the entire corpus of Kierkegaard’s thought and putting all parts into relation with each other. Additionally, he offers a distinctive analysis of the Abraham story and other biblical texts, giving particular attention to questions of poetics, language, and philosophy, especially as each relates to the aesthetic, the ethical, and the religious. Presented in a thoughtful and fresh manner, Hanson’s claims are original and edifying. This new reading of Kierkegaard will stimulate fruitful dialogue on well-traveled philosophical ground.

Farley (theology, Vanderbilt U.) offers in this slim volume a satisfyingly profound exegesis on the question of beauty's relation to faith within the Christian tradition. No stranger to contemporary theory, and well versed in philosophy, Farley writes from a Christian perspective as he examines faith and beauty's tumultuous relationship to build a case for the innate presence of the divine within the beautiful.

It is often said that bioethics emerged from theology in the 1960s, and that since then it has grown into a secular enterprise, yielding to other disciplines and professions such as philosophy and law. During the 1970s and 1980s, a kind of secularism in biomedicine and related areas was encouraged by the need for a neutral language that could provide common ground for guiding clinical practice and research protocols. Tom Beauchamp and James Childress, in their pivotal The Principles of Biomedical Ethics, achieved this neutrality through an approach that came to be known as "principlist bioethics." In Pastoral Aesthetics, Nathan Carlin critically engages Beauchamp and Childress by revisiting the role of religion in bioethics 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, drawing on a range of sources, including painting, fiction, memoir, poetry, journalism, cultural studies, clinical journals, classic cases in bioethics, and original pastoral care conversations. What emerges is a form of interdisciplinary inquiry that will be of special interest to bioethicists, theologians, and chaplains.

'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.

Does our available evidence show that some particular religion is correct? It seems unlikely, given the great diversity of religious - and non-religious - views of the world. But if no religious beliefs can be shown true on the evidence, can it be right to make a religious commitment? Should people make 'leaps of faith'? Or would we all be better off avoiding commitments that outrun our evidence? And, if leaps of faith can be acceptable, how do we tell the difference between goodand bad ones - between sound religion and dogmatic ideology or fundamentalist fanaticism? Believing by Faith offers answers to these questions, inspired by a famous attempt to justify faith made by William James in 1896. In doing so, it engages critically with much recent discussion in the philosophyof religion, and, especially, the epistemology of religious belief.

God/Terror addresses the quest for God in the context of oppression, violence and terror from an aesthetic perspective.

Augustine's dominant image for the human life is peregrinatio, which signifies at once a journey to the homeland (a pilgrimage) and the condition of exile from the homeland. For Augustine, all human beings are, in the earthly life, exiles from their true homeland: heaven. Some, but not all, become pilgrims seeking a way back to the heavenly homeland, a return mediated by the incarnate Christ. Becoming a pilgrim begins with attraction to beauty. The return journey therefore involves formation, both moral and aesthetic, in loving rightly. This image has occasioned a lot of angst in ethical thought in the last century. Augustine's vision of Christian life as a pilgrimage, his critics allege, casts a pall of groaning and longing over this life in favor of happiness in the next. Augustine's eschatological orientation robs the world of beauty and ethics of urgency. In Pilgrimage as Moral and Aesthetic Formation in Augustine's Thought, Sarah Stewart-Kroeker responds to Augustine's critics by elaborating the Christological continuity between the earthly journey and the eschatological home. Through this cohesive account of pilgrimage as a journey toward the right ordering of the desire for beauty and love for God and neighbour, Stewart-Kroeker reveals the integrity of Augustine's vision of moral and aesthetic vision. From the human desire for beauty to the embodied practice of Christian sacraments, Stewart-Kroeker develops an account of the relationship between beauty and morality as the linchpin of an Augustinian moral theology.