"Most philosophers of art of the modern period have concentrated their attention on engaging works of the arts as objects of disinterested aesthetic attention, and on the works that reward that modern of engagement, virtually ignoring the many other ways in which we engage works of the arts. The argument of this book is that it is important for philosophers to expand their attention and discuss as well the more important of those other ways in which we engage works of the arts. After discussing in some detail the main reason why philosophers have not done this, and explaining why this reason should be rejected, the book presents a conceptual framework for discussing the many ways in which we engage works of the arts. The book then employs this framework to discuss, in detail, memorial art, art for veneration, social protest art, work songs, and a recent development in high art, art-reflexive art. The book closes with some reflections on the role of beauty and justice in art in general."--Publisher's description.

Discipleship is embodied. Formation in the Christian life is not an otherworldly exercise but one that plays out in this world, interwoven with everyday sensory experience in ordinary life. The Aesthetics of Discipleship explores this dynamic through Kierkegaard's framing of "aesthetic existence"--the sensory experience of being "in the moment"--further developed by Bonhoeffer, as operating within a realm of freedom, encompassing not only art but play, friendship, and cultural formation. In addition to Kierkegaard and Bonhoeffer, the work of Iain McGilchrist, Graham Ward, and Nicholas Wolterstorff is employed to offer a fresh perspective on discipleship, "from below": Everyday sensory experiences are integral not only to being human but to the practice of discipleship, such that discipleship integrates aesthetic, ethical, and religious existence. Aesthetic existence unhinged from a life of faith or fueled by distorted Christendom creates and sustains aestheticized pseudorealities centered on the self. Mature aesthetic existence, however, anchored in love for God, plays a fundamental role in the Christian life, both as the incarnational celebration of being fully human, and also through the preconscious formation of imaginaries by which we live.

The biblical themes of creation and new creation are inextricably bound to each other. For the God who created the world is the same God who recreates humanity in Jesus Christ and the same God who promises a new heaven and a new earth. How might the relationship between creation and new creation be informed by and reflected in the arts? This volume, based on the DITA10 conference at Duke Divinity School, brings together reflections from theologians, biblical scholars, and artists to offer insights on God's first work, God's future work, and the future of the field of theology and the arts. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

How can the arts witness to the transcendence of the Christian God? Many people believe that there is something transcendent about the arts, that they can awaken a profound sense of awe, wonder, and mystery, of something “beyond” this world—even for those who may have no use for conventional forms of Christianity. In this book Jeremy Begbie—a leading voice on theology and the arts—employs a biblical, Trinitarian imagination to show how Christian involvement in the arts can be shaped by the distinctive vision of God’s transcendence opened up in and through Jesus Christ.

What is the difference between good worship and good entertainment? Too often, people disparage some aspect of worship by calling it "just entertainment" or "just a performance." Others say that they do not need to go to church because they have profound spiritual or even religious experiences at concerts, plays, movies, or dances. How is worship different from these performing arts? How is art different from entertainment? This book looks at the history of the performing arts both in worship and as worship, with particular attention to the attitudes that shape our ideas about both worship and entertainment. Working definitions of words like "art," "excellence," "liturgy," and "play" help to illuminate what different people mean when they use them in conversations about Christian worship. Putting theological, scriptural, and practical writings on worship and the performing arts in conversation with interviews with dancers, musicians, actors, preachers, and liturgical scholars, this volume is intended to help pastors, performers, and everyone who plans, leads, or cares about worship talk with one another in mutually respectful and helpful ways.

Neo-Calvinism critically advances Reformed orthodoxy for the sake of modern life. Birthed in the Netherlands at the turn to the twentieth century, initiated by Abraham Kuyper (1837-1920) and Herman Bavinck (1854-1921), it argued that a life before God entailed the leavening of faith over all human existence. While the movement originated in the Netherlands, the tradition now has a global reach, with practitioners and thinkers applying its insights in diverse ways and in their own contexts. This handbook is a genealogical introduction to this lively and modern branch of the Reformed tradition, with contributors that reflect its global reach. Its four sections chart the theological roots, important original figures, historical contours and the contemporary influence of neo-Calvinism across a diversity of fields.

This book extends a theory of art that addresses the present era’s shift towards global pluralism. By focusing on extrinsic rather than intrinsic qualities of art, this book helps viewers evaluate art across cultural boundaries. Art can be universally classified by an evaluation of its guiding narrative, and can be understood and judged through hermeneutical methods. Since artists engage culture through various local, transnational, and emerging global narratives, it is difficult to decipher what standards are used for evaluation, and which authoritative body evaluates the work. This book implements a narrative-hermeneutical approach to properly classify an artwork and establish its meaning and value.