Religious aesthetics: A theological study of making and by Frank Burch Brown

By Frank Burch Brown

Many modes of non secular expression and event have a markedly aesthetic part, although aesthetic pride itself usually seems to be freed from ethical or non secular pursuits. during this ground-breaking paintings, Frank Burch Brown exhibits how aesthetics, at the very least ethics, can play a vital position within the research of faith and within the perform of theology.

Reviews:

"A serene, appealing, and enlarging book."--John Drury, magazine of Theological Studies

"[One] will be tough pressed to go into into the theology and humanities dialogue . . . with out heeding the insights of this study."--Wilson Yates, Theology Today

"A profoundly valuable e-book that are meant to set the degree for destiny dialogue during this vital quarter of theology and culture."--Lawrence S. Cunningham, Commonweal

"An very important ebook, huge ranging, usually very witty, refreshingly undogmatic in its method of either artwork and faith, and exhibiting a magnificent grab of the present country of aesthetics and attainable new directions."--Nick Mcadoo, British magazine of Aesthetics

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Extra info for Religious aesthetics: A theological study of making and meaning

Sample text

These, however, are just the sorts of consideration that modernist theory has systematically excluded and that, especially as regards theology, the more radical post-modern theorists see mostly in a negative light. We rieed to remind ourselves, therefore, 24 Religious Aesthetics why modernist aesthetics took the route it did, and how. As we do so it will soon be plain that the modernist legacy in thinking about art and aesthesis, even more than the constricted modern understanding of the enterprise of aesthetics as a whole, naturally tends to militate against the very conception of genuinely theological or religious aesthetics.

Shape and be shaped by what is aesthetic. In arriving at this point, we have criticized and begun to modify prevalent modern notions of aesthetics, art, and aesthetic experience. Although we have not yet attempted to offer a definition of art or anything like a thoroughgoing phenomenology of aesthetic experience, we have lent support to the intuition that, whatever their nature, art and aesthetic experience often are important to religion in a variety of ways and therefore invite theological reflection.

Gombrich, and Virgil Aldrich, it is not a good model for understanding aesthetic perception and its relation to aesthetic objects. All that the duck/rabbit demonstrates is that perception can sometimes be an either/or affair. It does not demonstrate that this is always the case or that it is even usually the case when one attends to artistic and other aesthetic objects. What makes the duck/rabbit tempting is that, on this model, if one claims that a given experience is aesthetic, one automatically seals it off from the intrusion of extrinsic criteria appropriate to abstract ideas, political and utilitarian interests, and conventional moral and religious claims.

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