Search Results (30)

This article aims to examine how social media has changed the way human beings perceive themselves, exerting a tyrannical influence over personal image, leading people to aesthetic procedures and surgeries. It happens through the imitative dimension of human beings. Social media has created idealized world(s) where people see images of faces, bodies, and lives they perceive as perfect, leading them to question such aspects about themselves in comparison to the presented ideal(s). These idealized world(s) foster a contemporary Gnosticism, where people start seeing their own faces and bodies as flawed or inferior compared to these idealized images. This gives rise to a tyranny of social media over personal image, reshaping how individuals view themselves and pressuring them to conform to these idealized world(s). Theology has a mission to help people appreciate the beauty and goodness of real bodies and guide them toward the fruition of being bodily beings. Full article

Against the backdrop of the dialogue between theology, cinema, and image culture more broadly, this article explores Paul Schrader’s 2017 film First Reformed as an experiment in cinematic theology. His 1972 work Transcendental Style in Film: Ozu, Bresson, Dreyer outlines the contours of a cross-cultural, cross-religious model of spiritual cinema and remains an influential text within both film studies and theology. While much of his career as both a director and screenwriter has embraced a broad spectrum of themes, from the psychological pessimism of Taxi Driver (1976) to the deep Christology of The Last Temptation of Christ (1988), First Reformed sees Schrader return to his theory of a sacred cinema through the themes of spiritual crisis, ecological indifference, and the politicization of Christianity. Through a theological and hermeneutical reflection on the film, its visual and narrative grammar, and its influences, this article explores Schrader’s cinema as model of divine intimacy that redeems in an indifferent world. Full article

The cultural renaissance in 20th-century India has fostered an aesthetic integration of contemplative mysticism with popular religious practices, influencing various artistic and theological movements. This paper examines Christian artist Joy Elamkunnapuzha’s use of Indian classical and mythical elements in his religious artworks, particularly in two North Indian churches. These intercultural icons, which incorporate symbols from Hindu traditions like mandalas and mudras, have been central to the worship practices of local Catholic communities for over three decades. Through ritual ethnography, the study reveals how these visual representations mediate ritual affectivity and communal imagination, impacting identity formation and spiritual engagement in a multi-religious context. Respondents—including worshippers, ministers, and religious students—attest to the transformative impact of these images, as they negotiate between Christian metaphors and Hindu aesthetic traditions. The research is grounded in practical theology, liturgical theology, and ritual studies, contributing to the works of Indian Christian cultural activists like Jyoti Sahi. By exploring the creative dynamics of visual approach, visual appeal, and visual affinity within worship spaces, the study elucidates the complex processes of meaning making through symbolic mediation in interreligious environments. Full article

The Tridentine Latin Mass (TLM) is rapidly growing in popularity. The movement that has formed around it has grown so attached to it as to threaten the unity of the Catholic Church. I attended TLMs in multiple distinct settings, studied the worshippers’ ordinary theology, and proceeded hermeneutically using the Circle Method. The most useful insight to emerge from this is that the theological aesthetics of the post-Conciliar Mass could be more deeply symbolic and synergistic with Conciliar intellectual theology. The TLM’s aesthetics offer worshippers assurances of certainty, but these assurances are empty. Therefore, parishes should facilitate the self-expression of the faithful, both to foster engagement with mystery and to inspire liturgical aesthetics. From these expressions, contextually meaningful symbols will emerge, which, through communal discernment guided by the Holy Spirit, may prove worthy to the task of enhancing liturgical aesthetics. Full article

The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is the incorporation of beauty (pulchrum) into the number of transcendentals, i.e., the concepts “convertible” with the notion of being (ens), that is, unity, truth, and goodness (unum, verum and bonum). This article revisits Monica Calma’s study on Gerson’s theory of beauty and suggests new hypothetical sources that may have inspired this aspect of his thought. The second aspect emphasised here is Gerson’s classification of beauty, which entails some similarities to the one of Ulrich of Strasbourg, but also differs from it. Moreover, its incorporation of a division entirely devoted to artistic beauty is highly remarkable. Full article

This essay examines Jean-Luc Marion’s phenomenal model of the Trinity expounded in his recent book D’Ailleurs, la révélation (2020) and attempts to give an initial assessment from a theological perspective. Since Marion’s programme is largely indebted to the Roman Catholic theologian Hans Urs von Balthasar’s own project, first I give an overview of the Balthasarian phenomenal approach to revelation famously termed “aesthetic theology”. Next, I present Marion’s ideas concerning the convergence between the phenomenological and the theological enterprise. The third part examines the theological rationale behind Marion’s phenomenal model of the Trinity that again can be seen as relying significantly on Balthasarian trinitarian theology. In this section, I give an overview of the idea of the relationship between the immanent and the economic Trinity, and I inspect notions, such as trinitarian distance, kenosis and Marion’s own concept elsewhere. The fourth section gives an outline of Marion’s phenomenal model of the trinity where he develops a new trinitarian triad based on a phenomenal approach. The closing section reflects on the advantages and difficulties of Marion’s project. Full article

Ancient philosophers attached great importance to the ideals of unity, truth, goodness, and beauty as the path to the greatest good. Beauty expressed through works of art can open the eyes of the mind and heart and direct the human spirit to transcendence. The beauty of art awakens inner emotionality, evokes elation in silence, and leads to “coming out of oneself”. The concept of beauty is inextricably linked to Catholic theology and preaching. Beautiful sacred images were a source of theological messages, intercession, and entry into the transcendental world. Medieval Gothic cathedrals had images on the walls as a basic tool of catechesis. Even in today’s teaching of young people, images play a crucial role. The world of symbols enables Christians to connect everyday life experiences with theological messages. The image of the Virgin Mary is the best example of recognizing personal life situations, with the story of a mother who loved her child, accepted the suffering and death of her own son, and together with St. Joseph formed a holy family, which is the image of an imperfect family in which each person recognizes himself. All these aspects of the life of the Virgin Mary could form the basic concepts of the Christian understanding of beauty. In modern thought, the concept of beauty is understood quite narrowly (we are talking about narrowing the meaning of the concept of beauty). In the first part of this paper, we focus on the philosophical concept of beauty with a brief historical overview, then we point out the difference between transcendental beauty and aesthetic beauty. Beauty appeals to the human being and opens the heart to the transcendent, to God, who is the source and fullness of beauty, beauty itself. The originality of the article is in its presentation of the understanding of the Christian concept of beauty through the figure and image of Mary, the Mother of God. The experience of the beauty of Mary and Mary’s life story enables the believer to have a different perspective on the perception of his own life and thereby opens him to the transcendent, to a personal relationship with God, who is eternal Beauty. Full article

The aim of this article is to demonstrate why Catholic theology should actively engage with artistic images and elucidate how they could serve as a valuable resource for theological knowledge and content. The discussion is articulated in three distinct steps. Firstly, drawing from theological-historical perspectives within Christian tradition, it is shown that certain images possess significant theological potential. There have been various forms of interaction between theology and the visual representation of faith. The second step discusses the gradual reduction of theological reflection towards rational and conceptual cognition. The author relies predominantly on inner-theological arguments to advocate for the necessity of expanding the intellectual and conceptual horizons of contemporary Catholic theology so as to include the aesthetic dimension. In the final, third part, these insights are substantiated through the examination of two examples from contemporary Catholic theology: the works of Alex Stock and Peter Hofmann, exploring how artistic images can enrich systematic theology by serving as a “locus theologicus”. In conclusion, the author asserts that images have the potential to expand and concretize abstracted topics within dogmatic theology. They can also facilitate the reintegration of fragmented theological disciplines and forge a more direct link between theology and the lived experience of faith. Full article

The birth of modern aesthetics cannot be separated from the emergence of a new, non-dogmatic conception of religion and theology. Friedrich Schlegel advocated ‘art as new religion’ while Friedrich Schleiermacher developed a vision on religion as a deeply aesthetic experience. In this rich intellectual context, one author stands out as deeply steeped in this field of innovative dialogues between philosophy, religion and art (against the backdrop of profound historical transformations) and as a singular figure beckoning towards a future (and a future language) that was still to come: Friedrich Hölderlin. In his later work, Hölderlin’s poetic voice retreats into a process of meticulous reading and writing, a complex score of traces and signs that articulate difference, not-yet-presence and potentiality, which is nothing other than the experience of finite time. In doing so, Hölderlin retraces the divine in history and in human existence: its retreat and expected arrival. In this article, we present readings and interpretations of Hölderlin’s later poetry, with a specific focus on the Winke or hints of the gods, and the vocabulary of nods and signs (Zeichen) signifying the experience of time’s passing as the announcement of an unthinkable future. By involving Jean-Luc Nancy’s rethinking of the Winke as intersections of the divinity of humanity and the humanity of divinity, we will arrive at a new understanding of Hölderlin’s emblematic figures of modernity: the stranger and the passer-by as receivers and transmitters of these Winke. Full article

The intersection between religious experience and aesthetic experience has become so obvious that the current “aesthetic turn” in Christian theology no longer needs to be defended. In this essay, I discuss that intersection point from the point of view of Roman Catholicism, in order to demonstrate the bold claim that the arts and the performance they evoke from us are as important as the creed for Catholicism. The essay aims to do three things: first, to examine that intersection point and emphasize the elements of intentionality and desire; second, to analyze one expression of that intersection, namely the connection among Catholic faith claims, the visual arts, and Catholicism’s incarnational-sacramental imagination (using depictions of the post-Resurrection Emmaus story); third, to use hints from Hartmut Rosa’s recent work on “resonance” to tease out how revelation and transformation occur at this intersection. Full article

In contrast to “experience” (Erfahrung), the concept and phenomenon of perception is still underexposed in systematic theology. Aesthetics in the sense of aisthesis illuminates perception as an independent mode of existence and cognition and not merely as a preliminary stage of Erfahrung. This is made clear by the differentiations and concretisations on aesthetics by the philosopher Wolfgang Welsch. His work on aesthetics is valuable for systematic theology on an epistemological level on the one hand and is based on contemporary questions about a good life in an “experience society” (Erlebnisgesellschaft, Gerhard Schulze) and the ecological crisis on the other hand. As a result, cornerstones of a perception-sensitive theology become visible. Full article

The future of colonial pasts still haunts Christian imagination and theology. This is especially true in the field of eschatology, which is dedicated to Christian ways of conceiving the future. This article examines the manifold entanglements that collude in the fabrication of Christian imaginaries of time, future, and global community within (post)colonial conditions. At the center of the article resides the case study of a lithograph distributed by missionary networks in the second half of the 19th century and passed down over three generations in a German Swabian craftsman’s family. The first part of the article offers a detailed image analysis of the lithograph, paying special attention to its ways of religious and colonial worlding. The second examines the social milieu of the addressees of the lithograph and analyzes its embeddedness in intersectional webs of religious, aesthetic, and social disciplining. It draws attention to the complex, often ambiguous dynamics involved in producing colonial inferiority. Against this background, the third part explores, in the form of a provisional thought experiment, ways of a decolonial revision of the lithograph, which bring the aforementioned ambivalences “into view” and interrupt its temporal hierarchization. Full article

In contemporary Western society, fatness speaks for itself, affirming the fat person as an aesthetic and moral failure even before they say a word. Fat bodies, and fat female bodies in particular, are produced and reproduced as sites of excess and obscenity. Christian theology has protected itself from the contaminating touch of fat by ignoring fatness in theological discourse. Especially concerning is the relative absence of ‘fat talk’ from liberation and feminist theologies. It is time for a different word to be offered on fat that does not speak for itself and that emerges from the lived experiences of diverse women as they interpret their own faith and fatness. This essay explores the need for critical feminist theologies on fat liberation and identifies some features they might display. Here, I discuss Feminist Participatory Action Research and ethnography as methodologies that might help feminist theologians researching fat to prioritise the overlooked bodies and stories of fat women, and to continue liberation theology’s longstanding commitment to constructing historical projects oriented towards social change. Fat liberation, as a historical and theological project, calls for a ‘conversion’ to fatness and for a critical questioning of assumed ‘truths’ about fat. It positions the struggle against fat hatred as a pursuit of life and as faithful participation in the liberating activity of the God of Life. Full article

The article is an exercise in constructing theology from a Latin American perspective in dialogue with queer studies and theologies. The starting point is the tragic death of Lorena Muniz, a transwoman, in the process of getting breast implants making evident aspects of gender oppression, cis-sexist aesthetic pressure, and state neglect of health care specific to the trans population as denounced by ANTRA (National Association of Travestis and Transexuals). From this context, the article discusses a hermeneutics of mutilation in relation to Latin America and to the experience of trans people and introduces countersexuality (Preciado) as a way to resist the mutilations of cis-heteropatriarchy. With those tools in hand, the last part of the article realizes an exercise of theological and religious imagination engaging with the song Vaca profana (Caetano Veloso/Gal Costa) as a possible way of reconciling the reality of Lorena Muniz’ death with the hope for a different future through the symbolism of the divinas tetas [divine tits]. Full article

Ever since Marcel Duchamp introduced the readymade, the mass-produced object has played a key role in modern and contemporary art. As commodity culture became increasingly dominant in the decades following the second world war, artists turned to the readymade in the context of two movements that continue to be influential for the art of today: Pop art and Conceptual art. In the work of many contemporary artists, we have witnessed the tendency—inspired by Pop art’s engagement with consumer culture, to heighten the fetishistic nature of the commodity image. Conversely, many artists, influenced by Conceptualism’s methods of relocating and redefining aesthetics, have employed the readymade as a device to explore how objects mediate relationships within specific cultural contexts. This essay examines the implications of both paradigms using the theology of Michel de Certeau as a point of reference. The framework of mystical Christianity found in de Certeau’s writing, particularly with regard to his theory of “everyday practices”, provides a rich interpretation of the work of John Knight and Gabriel Orozco. The conceptual practices of both artists, particularly in the examples studied here, suggest deeper spiritual themes, and demonstrate the applicability of Christian ethics to readings of contemporary art. Full article