Swiss theologian Hans Urs von Balthasar (1905-1988) originated much of twentieth- and twenty-first-century theology\'s renewed interest in aesthetics.
As she reenacts the "interplay" of poetry and philosophy yielding theology in von Balthasar and his interlocutors, Carpenter points toward the incarnated beauty of human creativity and the inherent unity of reason and hear. "How do we value the theological in artistic works? In this book Anne Carpenter creates a significant map to the expansive landscape proposed by theological aesthetics.
Carpenter resituates and reevaluates Hopkins\'s poetry in a new context, placing him in the school of Aquinas rather than Scotus, and shows us how metaphysics is necessary for a vigorous understanding of language.
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The book concludes by marshaling its themes into a focused evaluation of von Balthasar\'s "redeemed" theo-poetic as it comes to expression in the poetry of G.
She uncovers the major characteristics of von Balthasar\'s metaphysical thinking, discussing his interactions with Thomas Aquinas, Karl Barth, and Martin Heidegger to firmly link Christology, metaphysics, and the expressiveness of language.
She explores Glory of the Lord and the trilogy, moving through his despair over the possibility of reconciling art and theology.
Carpenter begins with von Balthasar\'s very early interests in music, literature, and philosophy, in particular his work, Apocalypse of the German Soul.
Carpenter argues that von Balthasar uses poets and poetic language to make theological arguments because this poetic way of speaking expresses metaphysical truth without reducing one to the other.
Carpenter explores von Balthasar\'s use of poetry and poetic language, and she offers a detailed analysis of his philosophical presuppositions.
In Theo-Poetics: Hans Urs von Balthasar and the Risk of Art and Being, Anne M.
Von Balthasar\'s theology is both poetic and philosophical, and while this combination is often recognized, it calls for an explanation.
Swiss theologian Hans Urs von Balthasar (1905-1988) originated much of twentieth- and twenty-first-century theology\'s renewed interest in aesthetics
