By Michael P. Murphy
A few critics and students argue for the idea of a particularly Catholic number of mind's eye, no longer as an issue of doctrine or maybe of trust, yet fairly as a creative sensibility. They determine the combination of highbrow, emotional, religious and moral assumptions that continue from Catholic trust constitutes a imaginative and prescient of truth that inevitably informs the artist's creative expression. The inspiration of a Catholic mind's eye, even if, has lacked thematic and theological coherence. To articulate this instinct is to pass the not easy interdisciplinary borders among theology and literature; and, even supposing students have built beneficial equipment for project such interdisciplinary ''border-crossings,'' particularly few were dedicated to a major exam of the theological aesthetic upon which those different aesthetics may well hinge. In A Theology of Criticism, Michael Patrick Murphy proposes a brand new framework to higher outline the concept that of a Catholic mind's eye. He explores the various ways that the theological paintings of Hans Urs von Balthasar (1905-1988) supplies the version, content material, and optic for distinguishing this sort of mind's eye from others. given that Balthasar perspectives paintings and literature accurately as theologies, Murphy surveys a huge array of poetry, drama, fiction, and movie and units it opposed to vital features of Balthasar's theological application. In doing so, Murphy seeks to strengthen a theology of feedback. This interdisciplinary paintings recovers the valid position of a special ''theological imagination'' in severe concept, displaying that Balthasar's voice either demanding situations and enhances modern advancements. Murphy additionally contends that postmodern interpretive technique, with its cautious critique of entrenched philosophical assumptions and reiterated codes of which means, isn't the possibility to theological that means that many worry. to the contrary, by way of juxtaposing postmodern severe methodologies opposed to Balthasar's visionary theological diversity, an area is made on hand for literary critics and theologians alike. extra vital, the critic is supplied with the instruments to evaluate, problem, and rejoice the theological mind's eye because it is depicted at the present time.
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Extra info for A Theology of Criticism: Balthasar, Postmodernism, and the Catholic Imagination
Rather, deconstruction embraces the need to use and sustain the very concepts that it claims are unsustainable. Derrida was looking to open up the generative and creative potential of philosophical discourse, as I mentioned above; but he takes issue with the way in which much of metaphysical thought, according to his experience, had foundered into a series conﬁning polar oppositions such as male/female, good/evil, interior/exterior, essence/appearance, nature/culture, true/false, and life/death, to name a few.
Now Balthasar was ‘‘a fervent disciple of St. Ignatius,’’ as his friend Henri De Lubac once wrote. In fact, in his later years he tried to rejoin the Society of Jesus. Peter-Hans Kolvenbach, the superior general of the society, was ready to agree to his request in the 1980’s. 12 The relationship between Balthasar and the Jesuits is of fundamental importance. ’’ Rahner (1902–1984) was the archmodernist, theologically speaking. His ‘‘Supernatural Existentialism’’ and ‘‘Transcendental Thomism’’ were two 34 a theology of criticism of the important theological perspectives that underpinned the Second Vatican Council (1962–1965) and inﬂuenced theological inquiry for the following twenty-ﬁve years.
It is no coincidence that Balthasar places his theodramatic program precisely between his aesthetics and logic in order to emphasize the spatial centrality of God’s dramatic action in, with, and through the world. In chapter 5, I offer a reading of David Lodge’s novel Therapy (1995). ’’ Lodge develops these themes by constructing a narrative that mirrors the existential progression—that is, the aesthetic, ethical, and religious ‘‘stages’’— identiﬁed by the Danish philosopher Soren Kierkegaard. Importantly, a close consideration of Kierkegaard’s stages reveals a direct analogy with the transcendentals, which, in turn, illuminates one of the many reasons that Balthasar admired Kierkegaard and that Lodge’s novel is a perfect piece to read against Balthasar’s Theo-Logic.
A Theology of Criticism: Balthasar, Postmodernism, and the Catholic Imagination by Michael P. Murphy