By Robert MacSwain
David Brown is a widely-respected British theologian who in the beginning made his mark in analytic discussions of Christian doctrine, reminiscent of the Trinity. in spite of the fact that, with the book of Tradition and mind's eye: Revelation and Change (1999) his occupation entered a pretty new part, considering theology, mind's eye, and the humanities. 4 comparable volumes undefined, facing biblical interpretation, Christian discipleship, paintings and icons, position and house, the physique, track, metaphor, drama, liturgy, the sacraments, non secular event, and pop culture. in keeping with Brown, the basic thesis underlying all 5 volumes is that either traditional and published theology are in predicament, and the single means out is to offer right awareness to the cultural embeddedness of both.
Theology, Aesthetics, and Culture is the 1st try and verify the importance of this amazing sequence, and its individuals contain one of the most admired philosophers, theologians, historians, biblical students, literary students, and cultural critics writing this present day. other than its remarkable interdisciplinary diversity and ecumenical line-up, a particular function is continued attention of Brown's research of pop culture. Given the stature of the participants, this quantity isn't in basic terms of curiosity as a observation on Brown's paintings, but additionally makes a massive unique contribution to our understandings of theology, aesthetics, and tradition as they relate to the lifetime of the Church, academy, and human society.
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Extra resources for Theology, Aesthetics, and Culture: Responses to the Work of David Brown
It was the genius, but not at all the exclusive genius, of the Western tradition that Brown here perpetuates to take up the challenges of epistemology and run with them fearlessly and comprehensively. It is no accident that this volume begins with a chapter on sorting through the legacy of the Enlightenment and the challenge of postmodernism. At this level Brown’s work should be received as a seminal contribution to the epistemology of theology. It is a fascinating interpretation and re-appropriation of tradition as a theological and social imaginary.
13 Ibid. 14 Rahner, ‘The Act of Faith and the Content of Faith’, Theological Investigations XXI. Translated by Hugh M. Riley (New York: Crossroad, 1988), 156. , 156–7. 16 Summa Theologiae, 1a, q. 75, a. 5; 3a, q. 5. Cf. 1a, q. 12, a. 4, ‘Cogitum . . ’ See also Summa Theologiae, q. 14, a. 1, ad 3; q. 16, a. 1; q. 19, a. 6, ad 2; Summa Contra Gentiles, 2, 79, 7; De Veritate, q. 2, a. 3. 36 Tradition and Imagination with historical probabilities, kinds and stages of cultural development, linguistic possibilities, and above all the human intellectual and moral disposition for conversion (or lack of same).
Brown traces the development of the afﬁrmation of Christ’s divinity through the New Testament texts and the early tradition: from the historical Jewish charismatic to the self-consciously incarnate divinity of John’s gospel. He argues that appeal to the life of Jesus alone is insufﬁcient to ground belief in his divinity. On the basis of his resurrection and exaltation, the church became convinced of Jesus’ identity with the ‘Son of Man’ and ascribed a new signiﬁcance to him. Brown considers several cases illustrating the differences between Jesus’ teaching and that of the church: obedience to the Law; imminent eschatological expectations; and Jesus’ death in disillusionment and perhaps in despair (302–16).
Theology, Aesthetics, and Culture: Responses to the Work of David Brown by Robert MacSwain