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Theological Aesthetics after von Balthasar
The present volume is a cross-section of theological aesthetics in its current state, as well as a tribute to Hans Urs von Balthasar’s contribution to this academic discipline. What constitutes theological aesthetics is difficult to define since “aesthetics” is itself a rather broad area, the exact contents of which are often bitterly contested. The issues and areas in modern aesthetics that are relevant to theological aesthetics, as will appear from the ensuing discussion, can be briefly described as follows. First of all, eighteenth-century theorists, building on some observations that date back as far as Plato and the Neoplatonic tradition, delimited aesthetics as a discipline that deals with those aspects of sense perception and natural emotional reactions (stemming from both natural and artificial objects) that have some cognitive and hence educational and moral functions, thus challenging the prerogative of conceptual reasoning in
these areas. The subsequent tradition of German Idealist philosophy, extending to its twentieth-century successors represented by the phenomenological and hermeneutic traditions (e.g., Heidegger and Gadamer), particularly stressed the ability of aesthetic experience to reveal a certain kind of “truth” about reality. The Romantic tradition, in addition to that, stressed the moral potential of the arts and sensible perception of nature: thus in addition to being revelatory of reality, art and natural beauty can be transformative of one’s moral being. Both Romantic and Idealist aesthetics drew
heavily on the ancient and, in particular, Platonic tradition.
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