The book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach is in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas found in both texts and artifacts.
This timely book brings together the stories of St Francis – his preaching to birds, rejection of wealth, caring for lepers, befriending animals and living simply, his poetry and hymnody in praise of creation that is still sung today – and the influential writings and examples of inspiring Franciscans who have followed him such as Clare, Bonaventure, Duns Scotus and Angela of Foligno, and draws them into conversation with contemporary concerns for our planet. It gathers 800 years of accumulated wisdom and practical examples of how Franciscans have found ways to live at home and at peace with creation. It explores that long tradition and experience to ask what lessons can be drawn for today to challenge and enable readers to re-visit their own relationship with creation.
The legacy of late medieval Franciscan thought is uncontested: for generations, the influence of late-13th and 14th century Franciscans on the development of modern thought has been celebrated by some and loathed by others. However, the legacy of early Franciscan thought, as it developed in the first generation of Franciscan thinkers who worked at the recently-founded University of Paris in the first half of the 13th century, is a virtually foreign concept in the relevant scholarship. The reason for this is that early Franciscans are widely regarded as mere codifiers and perpetrators of the earlier medieval, largely Augustinian, tradition, from which later Franciscans supposedly departed. In this study, leading scholars of both periods in the Franciscan intellectual tradition join forces to highlight the continuity between early and late Franciscan thinkers which is often overlooked by those who emphasize their discrepancies in terms of methodology and sources. At the same time, the contributors seek to paint a more nuanced picture of the tradition’s legacy to Western thought, highlighting aspects of it that were passed down for generations to follow as well as the extremely different contexts and ends for which originally Franciscan ideas came to be employed in later medieval and modern thought.
In this groundbreaking work, Brown shows how aesthetics, no less than ethics, can play a central role in the study of religion and in the practice of theology. "An important book, wide ranging, often very witty . . . showing an impressive grasp of the current state of aesthetics and possible new directions".--Nick McAdoo, British Journal of Aesthetics.
This book presents an overview of the later medieval trinitarian theology of the rival Franciscan and Dominican intellectual traditions, and includes detailed studies of thinkers such as Thomas Aquinas, Henry of Ghent, John Duns Scotus, William Ockham, and Gregory of Rimini.
A Reader in Early Franciscan Theology presents for the first time in English key passages from the Summa Halensis, one of the first major installments in the summa genre for which scholasticism became famous. This systematic work of philosophy and theology was collaboratively written mostly between 1236 and 1245 by the founding members of the Franciscan school, such as Alexander of Hales and John of La Rochelle, who worked at the recently founded University of Paris. Modern scholarship has often dismissed this early Franciscan intellectual tradition as unoriginal, merely systematizing the Augustinian tradition in light of the rediscovery of Aristotle, paving the way for truly revolutionary figures like John Duns Scotus. But as the selections in this reader show, it was this earlier generation that initiated this break with precedent. The compilers of the Summa Halensis first articulated many positions that eventually become closely associated with the Franciscan tradition on issues like the nature of God, the proof for God’s existence, free will, the transcendentals, and Christology. This book is essential reading for anyone wishing to understand the ways in which medieval thinkers employed philosophical concepts in a theological context as well as the evolution of Franciscan thought and its legacy to modernity. A Reader in Early Franciscan Theology is available from the publisher on an open-access basis.
"This book presents a philosophical portrait of human persons that depicts each way in which we are irreducible, with the goal of guiding the reader to perceive, wonder at, and love all the unique features of human persons. It builds this portrait by showing how claims from many strands of the Catholic tradition can be synthesized. These strands include Thomism, Scotism, phenomenology, personalism, nouvelle théologie, analytic philosophy, and Greek and Russian thought. The book focuses on how these traditions' claims are grounded in experience and on how they help us to perceive irreducible features of persons. This book also explores irreducible features of our subjectivity, senses, intellect, freedom, and affections, and of our souls, bodies, and activities"--
From the earliest period of its existence, Christianity has been recognized as the "religion of the cross." Some of the great monuments of Western art are representations of the brutal torture and execution of Christ. Despite the horror of crucifixion, we often find such images beautiful. The beauty of the cross expresses the central paradox of Christian faith: the cross of Christ's execution is the symbol of God's victory over death and sin. The cross as an aesthetic object and as a means of devotion corresponds to the mystery of God's wisdom and power manifest in suffering and apparent failure. In this volume, Richard Viladesau seeks to understand the beauty of the cross as it developed in both theology and art from their beginnings until the eve of the renaissance. He argues that art and symbolism functioned as an alternative strand of theological expression -- sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of the Crucifixion and its role insalvation history. Using specific works of art to epitomize particular artistic and theological paradigms, Viladesau then explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. The beauty of the cross is examined from Patristic theology and the earliest representations of the Logos on the cross, to the monastic theology of victory and the Romanesque crucified "majesty," to the Anselmian "revolution" that centered theological and artistic attention on the suffering humanity of Jesus, and finally to the breakdown of the high scholastic theology of the redemption in empirically concentrated nominalism and the beginnings of naturalism in art. By examining the relationship between aesthetic and conceptual theology, Viladesau deepens our understanding of the foremost symbol of Christianity. This volume makes an important contribution to an emerging field, breaking new ground in theological aesthetics. The Beauty of the Cross is a valuable resource for scholars, students, and anyone interested in the passion of Christ and its representation.
